How to Spot a Problem Client
We’ve all been there.
Trapped in a bad contract with a bad client making bad money.
Not every project is going to go smoothly, and not every client is going to be fun to work with. The fact is, as a Freelance Illustrator you are a customer service business just as much as you are an artist, so your ability to collaborate with, and sometimes tolerate, a difficult client is one of the keys to your success. In order to make this easier, it’s important to try and weed out the problem clients or charge more for those who seem difficult but still promising (Update: You can now read What to Do About a Problem Client and How To Protect Yourself With a Solid Contract).
The problem is that you can’t always tell from the start how a project is going to go, or what roadblocks might arise. Sometimes everything seems just dandy in the beginning only to turn into a catastrophe later on. What you can do is be aware of certain clues that raise red flags about a particular client, and plan accordingly.
The best time to get a feel for a client is your initial contact with them. Whether you communicate via email, telephone, or face-to-face meetings, it’s a good idea to pay close attention at this stage. If you listen to what they say and how they say it, you can tell a lot about their intentions and the way they might interact with you in the future.
Here are some common warning signs of a problem client:
They’ll only pay you if they like your work.
They talk more than they act . . . or listen.
They want the moon and the stars, but they only have a few bucks.
Their nephew is an “artist”, and he drew up some ideas, so they just need you to make them look good.
They tell you how long the project should take and how much it should cost.
They tell you how much great exposure you’re going to get.
The only way they can pay you is in royalties, but this thing is gonna be huge, baby.
They are a group or committee, and nobody is in charge.
They’ve worked with several Illustrators on this project, and haven’t been happy with any of them.
They tell you how to do your job.
They don’t want to sign a contract.
The list above should give you an idea of the more common red flags that are thrown up by a potentially difficult client. You’ve probably heard some of these already as well as others. As we’ve seen in a recent post, some of these things can also be applied to art reps and agencies. The important thing is to notice the warning signs and estimate their potential cost to you and your business. Then, you can decide whether to run the other way, try to educate them, or add a “pain-in-the-butt fee” to your price quote.
I’ll talk more about these options in the near future (update: you can now read What to Do About a Problem Client), but for now I’ll leave you with this:
If it sounds like a bad situation, it probably is.
…
What are some red flags that tip you off to a problem client? Feel free to share your thoughts in the comments.
Related Posts:
- Is Your Client Clean or Dirty?
- What to Do About a Problem Client
- How to Educate Your Clients
- Things to Consider When Pricing Your Work
- How to Protect Yourself With a Solid Contract
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Ah, “committee” without a “decision-maker”…. I know that one well.
Yeah. It’s nice to at least have one person to communicate with and handle revisions, rather than having to deal with a whole group of dissenting opinions.
A technical term for the ‘pain-in-the-butt-fee’ is ‘a**hole tax’ ; )
Thanks, Josephine. Come on everyone, I’d love to hear some more.
I’ve heard it called the Eye-Dee-Ten-Tee (ID10T) Charge over the phone, but I certainly wouldn’t dare write it out in an email! Haha.
I always joke that I charge more for ANY project that has a committee!
I actually think that’s a great idea. Thanks for sharing Karyn!
I agree. I always charge more for committee jobs. They always take longer and include infinitely more revisions.
Wow! On target!
The bad part is that even as an employee of an organization, very often the same issues arise!
Working for a committee that has no leader — leads to disaster
Working for a low-budget project… they want to scale back midway through, leaving havoc in their wake
Bad organization — has turn over and keeps replacing people without replacing the bad managers making bad decisions
The “Nephew” — try the old croney hanger-on who magically appears out of nowhere to take over projects as they become successful, even though they didn;t work on them… I could go on. And the one about “exposure” – oftentime a line used by unethical bosses to convince people to stay on a bad project because iot could make their reputation. But they mean of course, the bosses rep, not the employee doing the actual work… and they can’t understand why no one wants to work for them.
Thanks for commenting, Mary. I agree that these types of pitfalls can come in many forms. The key seems to lie in protecting yourself and your business in any way possible. Stay tuned for the next part of this discussion later today: What to Do About a Problem Client.
I’ve had quite a few go nowhere projects. Where clients are really demanding and then contest the fees or seemingly good opportunities where ‘it’s going to be huge’ and you have to do the work first and be paid later.
If initially I get even the slightest warning that a client fits any one of your list I just don’t bother o respond, they’ll waste your time and time is money so now I just let them waste their time if they’ve managed to slip past into actually engaging into a project dialogue and then they turn then in the case of your examples and a fair few other criteria of my own I instantly up the fee substantially (in some cases when a client who is being unrealistic and un-professional has tried to haggle down I always increase the fee incrementally, for every e-mail I get trying to lower the fee I up it unrealistically) I then bring out a heavy contract/T&C’s and I insist on a 50% fee up front.
This usually means they go away which as far as I’m concerned is a profitable win as they won’t waste my time.
Here’s a great link to a very funny Client (fool) to Creative conversation:- http://www.27bslash6.com/p2p.html
Wow, that link was hilarious. Thanks for sharing. You also have some good thoughts, and a good attitude, about the concept of a problem client. After we get kicked around enough times, we learn to stand up and laugh at troublesome clients as they waste their own time instead.
yes you gathered the caracteristics of what I call “a professionnal bad client”
I test a client by asking “do you want a 10% discount”, and later in the conversation I answer “pay upfront” just from this question I can evaluate the “seriousness” of the client
great article Thomas
Excellent, excellent advice. If every beginning illustrator knew about these danger signs, there’d be whole lot fewer horror stories to make the rounds.
I would suggest that when an artist hears a single one of these should think twice before taking on the client, and if there are two, give a polite “no thank you” and move on to a client that’s serious about paying a fair amount for a doable illustration. Life is too short to waste on crooks and the incompetent who will never go anywhere.
Thanks for another great blog subject.
–Duncan
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Freelance illustrator for HarperCollins, PS Publishing, Pocket Books, Solomon Press, American Media, Fort Ross, Asimov’s Science Fiction, and many other publishers. See my illustrations at: http://DuncanLong.com/art.html
This is a great post and should be an excellent warning for the less experienced.
I had a client I was working with ask if there was a discount if the work got approved in less than the estimated three rounds on our contract. When she insisted on the lower price, I told her I could meet the lower price, but there would be only one or two rounds. She of course, balked.
Later on, she casually mentioned that she had a pending lawsuit with a previous designer she was working with that as she put it, ‘just flaked on her’ with her artwork. As I came to know her a little better, I could see why.
After completing some collateral work for this same client, she mentioned that we couldn’t use the photography she had provided and to find something else. Then she mentioned that the photographer of those same images was threatening her with a lawsuit for illegal usage. As she claimed, her former employer gave her the disc with all the images on it and told her she could use them for free.
At that point, I finished our project and billed her. After I got my check, we were done. If you here anything like that – run away!
I always dread the people with an idea for a kids’ book. “My idea is totally different than everything out there. I just need some illustrations to sell the book to a publisher. I can pay you when it sells.”
Or, “I can’t pay you anything but this will look awesome in your portfolio.”
Those are both scary phases to hear, especially for the beginner who need work desperately.
I came across this link yesterday. It fits right in with this discussion. And it’s good advice.
“My wife/son/daughter took a class in that.” ‘That’ being any skill you have to pull out to get the job done. Odd that this client needs you when there’s a fully qualified family member at home. My art instructor used to tell me to charge double for these people.
I still get clients who tell me that their project will make a great portfolio piece for me which usually translates into “we’re too broke or cheap to pay you what you’re worth”.
I also get clients who constantly try to “negotiate” the price. Chances are that they will continue to “negotiate” the price while still trying to suck as much out of you as they can.
I could go on forever about this. Great article.
We had a client come into the studio one time who actually sat down at one of our computers and started designing what he wanted done– we instantly knew this guy was going to be trouble. It’s funny to read your list because about six flags were there and we caught him pretty much from the start so it was a brief relationship.
The funny thing was he looked like the teacher in Welcome Back Kotter– so after that anytime we had a bad client read we’d dub them a Kaplan– as in Gabe Kaplan who played the character.
Luckily, in over ten years there have only been a handful of these.
Andy
Difficult clients get charged my “PITA” fee for being such a “pain-in-the-ass.”
Yes, I need the money. But these clients who want the moon and the stars, “right away” (in spite of their million revisions) and all at a cut rate, cost me more in time, aggravation, and sleep than their invoice (that they usually pay late) is ever worth.
More importantly, they get in the way of the “good” clients who appreciate my time and talent, and will pay me a far price for it.
I’ve run into quite a few guys who will ask you for a concept sketch/drawing before they want to pay. Often it’s ‘I want to find the perfect artist for the job so I’m getting a drawing from a bunch of artists that I like and I’ll decide on which artist’s work I like best’.
But really, if someone has seen the work in your portfolio then they should have a pretty clear picture of what you are capable of and what your style is.
Some people like this don’t really know any better though. They may not have ever worked with illustrators before. The ones to be especially wary of are businesses and things that try to do ‘contest’ type deals: ‘I am looking for artists to design my logo, this is my company, the logo that represents us the best will be paid X amount’. They are demanding loads of free work or ‘spec’ work and they have no respect for our services or our industry.
Great advice. The key is to really listen to the client and your gut instinct. If you get a sinking feeling in the pit of your stomach, it’s best to say “thanks, but no thanks.” I’d rather spend my time with a client who “understands business” and realizes “you pay for what you get.” If you don’t want quality and professionalism, allow the nephew to be the illustrator. Just my opinion.
Thank you so much for this. I may frame it and hang it over my desk.
For me, it’s pay, pay, PAY.
If I have to haggle for my pay every month, then I have a problem client. I can’t stand it. I had a client tell me they pay me when they get paid. Of course, I replied, “And if you DON’T get paid?”
Another client insists the payment date is based solely on their contractual terms, not mine. I’ve argued this with many people on both sides of the fence. Bottom line, in my opinion, it’s actually MY terms first or joint terms secondarily. I’M the one who has worked for a month without seeing a cent. Curious what others think, as far as payment terms and who decides.
Bottom line: good clients pay you in a timely manner. (Or occasionally have to make arrangements but are very upfront about it.)
Wow, these comments have helped me tremendously in dealing with clients. It’s good to see that others have had the same problems and how they dealt with them. Thank you so much!
Just recently had a client who wanted not only a revision of a powerpoint to the point of almost complete redesign, but wanted lessons in ppt thrown in too, just as a “fun” thing. Dropped her in a hurry.
A lot of issues can be avoided by making a vision of what the client wants and what you understood. By doing so you avoid dissapointment.
I work as a freelance computer graphic designer (illustrator as well, but I’m yet to get much paid work in that field), and I found this article very interesting.
We have exactly the same kinds of problems, but it sounds like the Illustration field is either not as well developed and or does not have any where near as much support and information out there.
Basically, in my field, you NEVER enter a project without a contract. You’re looking for trouble if you don’t. It’s a benefit for both parties, so if client shies, you can reiterate that it helps make sure the playing ground is even on both sides and no confusions occur.
Another is “scope creep”, which is a term you don’t seem to have used in this. For those who don’t know, it’s when the client wants to do things outside of the initially agreed upon contract. This is one of the many ways in which a contract will save you. You simply point out to the client that you have done what they agreed upon and signed the contract for, and any more changes are at their discretion and will have to cost more. No “buts” about it.
Another big thing in my field is client education. Unfortunately it has to happen with 99% of clients. They have a lot more input in what we do – than say getting a plumber to fix their plumbing – therefore you need to explain to them what their role is in this project, and what your is and anything else that you may rely on them for.
I’m glad you reiterated this about “clients to watch out for”. I’m not sure if you’re conscious of this, but a big thing that comes with “bad” clients is their destruction of your self-esteem. You feel like you are simply handling the situation badly (esp. when it comes to scope creep – you think its because you aren’t doing a good enough job), and yes there are things you could probably do better, but in my experience it’s a two way street. I’ve had some wonderful clients who have loved me, and others who just screwed me around and picked at the most ridiculous things.
One word: CONTRACT!!
If anyone would like, i have a MILLION resources on writing contracts, contact me if you like via my portfolio here: http://www.behance.net/KyreenaHay
Thanks Kyreena! I agree that the number one way to protect yourself is with your contract. Without that, you have nothing. Your points about client education, scope creep, and self-esteem are great too. Thanks for sharing.
Some clients also nominate free pitching as the appointment method of choice, how can this be worthwhile when they also expect “a clear understanding of the Brand and the market” as the most important criteria for selection.
This is the fundamental discrepancy – you won’t get an in-depth understanding of the market in a free pitch, so, if engaging a design company is about solving your communication needs, then it is hard to imagine that effective design & marketing can be developed without a reasonable application of experience, knowledge and time from the client and the design team.
Some agencies may consider the creation stage as an absorbed cost to their main income stream, (from media commissions for instance) but strategic design studio’s do not. It is how we live.
The value and depth of a good design solution springs from a professional client-designer relationship and like any effective business process, it begins with a good definition of the business and its objectives.
Developing that definition requires the experience and knowledge from both the client and the designer, a certain amount of learning on the part of both, and most definitely respect and commitment from each.
If for instance, we were to consistently engage in free pitches and win say, one in every two, we would have to build extraordinary margins into the projects we did win just in order to survive, let alone make money.
We feel the client loses by either not getting the most effective design solution or paying too much. So if they want to engage you, it’s fair to ask for a percentage up front, included with your terms & conditions.
The client who really does not know what they want.
I had a client (breifly) who loved a 4×5 foot detailed painting of a cactus flower-loved the colors anyway. So client wants a tryptych with 4 x 5 central panel and two 2 x 4 foot wing panels. The client vaguely suggests they want a desert scene, not the cactus flowers I painted-OK I can do landscape too.
Oh and of course the client immediately balks at my price-there’s the red flag that I ignored. They also did not want to sign a contract right then-flag 2.
Within 24 hours, I sent the client 4 full-color sketches of various desert scenes-they were not high quality thank goodness-but they did take me about an hour each, and they were sufficient for her to tell me what direction in the broad category “desert scene” the client wanted to go in. You guess it, they were not detailed enough for the client to make up their mind. I guess the client wanted me actually paint 4 four giant tryptychs so they could chose among them.
I politely suggested the client send me a magazine cut out when they found something similar to what they wanted-I suggested AZ Highways as a source-but I further advised, until the client knew they wanted I could not work for them.
I have been on the lookout for “vague” ever since then. They will waste your time.
Jake
PS. loved the link to the pie chart and logo thing. Funny, my eyes were watering I was laughing so hard.