January 22, 2025 • 14 mins
Ever wondered if teaming up with another freelancer is the key to unlocking new creative heights? Or is it a potential recipe for disaster? Treasa Edmond and guest co-host Sarah Gressonbach dive into a debate of collaboration versus formal partnerships, offering insights that could transform your freelance career.
They discuss the complexities of profit sharing, client ownership, and resolving creative differences while emphasizing the power of clear communication and written agreements. This episode is a thought-provoking discussion that will empower you to become the boss of your business.
About Our Guest
Sarah Greesonbach is the founder of B2B Content Studio and a seasoned expert in B2B marketing content. With over a decade of experience writing for Fortune 100 brands and top executives, Sarah specializes in transforming complex ideas into clear, compelling content. She has worked with industries ranging from SaaS and HR tech to retail and higher education, helping businesses showcase their unique value to prospective customers.
Links You Might Want
Check out B2B Writing Institute and sign up for Sarah's newsletter
Connect with Sarah on
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Thank you for taking time out of your busy day to listen to Boss Responses. This podcast is a passion project that comes from years of helping freelancers shape a business that supports the lifestyle they want.
Have a question you'd like answered? Send it to info@bossresponses.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Treasa Edmond (00:00):
Welcome back to Boss Responses.
Have you ever thought aboutentering into a formal
partnership with anotherfreelancer?
Say, you're a writer andthey're a designer, and you know
that you could get biggerprojects, more complex projects,
if you worked together.
Well, that's the question Sarahand I are dealing with today.
Our answer might surprise you.
(00:22):
If you're a freelancer,business owner or anyone who
deals with clients, you're inthe right place.
I'm your host, Treasa Edmond.
I've been dealing with clientsand running my business for
nearly two decades and in thattime, I've dealt with my share
of doubt, imposter syndrome andnot knowing what to say when a
(00:42):
client asked a question I wasn'tready for, and not knowing what
to say when a client asked aquestion I wasn't ready for.
I created this podcast toempower you with the boss
responses you need to grow yourbusiness.
Each week, my guest co-host andI will bring you five episodes
packed with practical insights.
Monday through Thursday, weanswer your questions, and
Fridays, we dive deep to explorehow our co-hosts embrace their
(01:05):
role as the boss of theirbusiness.
Welcome to Boss Responses,sarah.
What is the question for today?
Sarah Greesonbach (01:16):
Today, sam wants to know.
I am a content writer and I'vebeen approached by a former
colleague who's now a webdesigner.
She would like to join forcesto offer full-service branding
packages to small businesses.
We've successfully collaboratedon a couple of projects in the
(01:39):
past and the potential forhigher-value contracts and
shared workload is appealing,but I'm not sure how to, or if
we should, formalize ouragreement.
I'm also concerned aboutpotential disputes over creative
differences.
How can we create a partnershipthat protects both of us and
clearly defines responsibilities?
Go?
Treasa Edmond (02:00):
I have a strongly held belief on this one and I'm
going to start with a caveat.
I have worked very closely witha designer in the past and we
have offered packages to ourclients.
We were not a partnership.
We collaborated, but we did notform a partnership, and we did
that intentionally.
For a lot of these reasons, Iwant to touch on a couple of
(02:20):
things Sam said here.
They've successfullycollaborated.
They've already done that.
That's great.
The potential for the highervalue contracts and the shared
workload is appealing.
Higher valued contracts great.
If you're working with adesigner, there is no shared
workload.
You're doing your writing andthey're doing their designing
and they need to work together,but it's not actually a shared
(02:44):
workload.
So I would rethink how Ithought that in my head.
Sarah and I were just talkingin the break about reframing,
and I think that's one of thosereframing situations the
disputes over creativedifferences.
If you've successfullycollaborated, clear
communication at the start ofthe project should actually
(03:06):
resolve that.
So I don't think that's a hugeissue.
The bigger issue to me is howwe can create a partnership that
protects both of us and clearlydefines responsibilities, and I
want to point out just a coupleof things, and this is all a
conversation.
You need to have a conversationwith this person about what the
(03:26):
money looks like.
So profit sharing or fees,who's going to set those?
How are they going to set them?
How's that money going to goout, client ownership who
actually owns that client, andthen what happens if one of you
want to exit this relationshipand not work together anymore.
If you can talk about thosethings like two civil adults or
(03:48):
business people, then you cantalk about regular collaboration
.
My recommendation on this iswould be not to form a formal
partnership.
It would be to keep acollaborative relationship where
you have made an agreement witheach other that this is what
you're going to do.
Get it written down and then,on each project, depending on
(04:11):
who brings the client in, theperson who brings the client in
is the lead on that relationshipand they subcontract the other
part of the work to the otherperson.
And if you have everything setup ahead of time, it makes it a
lot easier to do that and that'swhat worked really well for me.
Some people might like a formalpartnership, but partnerships
get sticky.
I've seen very few partnershipsthat didn't get sticky in this
(04:34):
type of situation.
But just make sure you haveeverything clearly delineated.
Say, sarah is the designer andI'm the content writer.
If I bring in a client who cameto me for writing, but they
really want designing as well,then I could say hey, I know
this designer.
We could bring them in on thisproject and get it all done at
once for you, and then make itone thing Would you like to pay
(04:57):
them separately or would youlike to pay one lump sum?
And then I would go to Sarahand I would say, hey, sarah, I
have this person.
They want to use your design.
Do you have availability?
Yes, great, how much do youwant to charge for this?
Sarah gives me her rate, I putit in my package project and
then I also add 10, 15% on topfor facilitating everything.
(05:19):
And then it's good to go.
That's all it is.
It's subcontracting.
It's so much easier than aformalized arrangement.
But because we do it all thetime, sarah knows that it's
going to be a well-run project.
Or if Sarah's running theproject and I'm just coming in
to do the writing, I know thatwe work well together.
And when I say, hey, sarah, howmany words do you need for that
(05:41):
page?
She's going to say 456, no moreand then we just move with it.
A huge amount of this iscommunication and making sure
that you can work with theperson, and you've already
proven that.
But I draw the line atformalizing.
That creates a partnershipwhere both of you have kind of
equal liability on everything aswell.
(06:01):
And formalized partnershipschange tax codes, they change
all kinds of things, and I wouldrather just run my business and
subcontract.
What about you, sarah?
Sarah Greesonbach (06:15):
Sorry, that was the sound of everybody
cheering in response.
It's overwhelming over here, sowe need to let it settle down a
little bit.
But I completely agree, whichis not a shocker.
I do think there are somescenarios where a partnership
could make sense, and it'smainly if you have the impulse
to creatively meld souls withsomeone else and you just want
to be up in their businesscreating new, amazing art.
(06:39):
Yeah, that's a partnership.
I've seen some things like thatGosh Creator Kitchen with Jay
Akunzo and Melissa somethingBraid Creative is something like
that.
But I think what happens inthose partnerships is that they
aren't getting together becauseit's convenient and it's going
to help them sell stuff.
They're getting togetherbecause they have this creative
(07:00):
mission to change somethingabout the world.
And I'm not really getting thatvibe from you, Sam.
I'm getting the vibe thateverybody has the business they
like and they'd love tocollaborate on some projects to
make it a little less lonely andmaybe get some more clients out
of it.
So I think the best way to dothat is absolutely with a
collaboration where one persontakes point, maybe gets an extra
(07:20):
fee for it, something like that, and you know that when they
have point on that projectthey're kind of the final word.
So you might have creativedisputes or disagree on
something, but you both haveagreed in advance that person is
a 60-40 vote instead of 50-50.
I think that's what happens,Because a partnership doesn't
have to be 50-50 or 100-100.
(07:40):
Like a marriage, a partnershipcan be whatever you want and I
think you just want to have thatconversation and communicate
that going into it so that youhave a way out and that there is
a decider who can decidewithout causing bad blood.
Treasa Edmond (07:54):
Yeah, and that's the whole communication thing.
There will be disagreements andyou need to know ahead of time,
even if you're not forming apartnership as collaborators,
what's the tie-breaking decisionin this.
So yeah, we really disagreeabout this.
I wrote this spectacular pieceof content and I think Sarah
only did kind of a half-heartedjob on the design.
(08:17):
What do I do about that?
What happens when one persondoesn't?
Don't tell her off.
What happens when one persondoesn't understand what's going
on fully, or isn't willing tocommit to that project or just
isn't working right?
You know what happens and youjust have to buy a car that
morning.
Sarah Greesonbach (08:34):
Oh my gosh.
Treasa Edmond (08:35):
Yes, it's really involves real life involves real
life, yeah, so there has to bea plan in place to deal with
situations like that, and peopleoften think, well, we're just
going to do this thing and we'llfigure all of that out later.
You're going to be much moresuccessful if you figure it out
ahead of time.
And I will tell you thosemagically chemical creative
(08:59):
processes and partnerships thatSarah was talking about.
They sat down and hadconversations or they worked on
enough projects that they wereso in tune with how the other
person worked that it just madesense.
But they still sat down and hadconversations and said, okay,
if we're going to do this, let'sfigure some things out.
Let's figure some things outand make sure that we're both
(09:20):
really going to be happy in thissituation.
And that's what it comes down to.
So it's not about and I knowthis sounds wrong it's not about
the higher value contracts.
It's about can you worktogether to create a great thing
and then the money is actuallyworth it?
The money is kind of thesecondary part of it.
Sarah Greesonbach (09:42):
It introduces really interesting questions
about like solopreneur serviceoffering partnership, agency
scaling, like it's to take youdown that road where it's like,
is it worth charging an overheadand potentially building a
bigger machine than I can reallyhandle, just to quote unquote
(10:04):
secure higher value contracts oreven longer term contracts.
And I think right now in thecreative and marketing spaces,
agencies are really experiencingsome transition, like in an
alien movie, where a remnantlike attaches to someone and
they just start like growing inweird ways.
I think people have a lot moreinsight into how agencies and
(10:25):
overhead works and so they'remuch less excited to take a cut
or give up a cut of what they'redoing.
So I would just put it all outon the paper and make sure
you're headed in a directionthat you actually want to go in.
I want to go big picture.
It could also be reallyinformative to ask yourself, Sam
, why you're doing this and seewhat decisions are you making
(10:47):
out of fear and what decisionsare you making out of excitement
and fun.
Because if you are doing thisbecause you are afraid that you
can't offer bigger packages oryou want to secure clients
because things aren't going well, I feel like that's a very
different decision from mycolleague contacted me.
I'm excited about this.
It would be so cool to do blank.
I want to do blank.
I think those are two verydifferent things and I'm getting
(11:10):
the sense when we say we wantto join forces to offer these
bigger packages, we want toprotect both of us.
I don't know Now I talk myselfinto like 50-50.
I'm not sure if I see any fearin here, but it could be a good
question to ask yourself.
Treasa Edmond (11:26):
Yeah, sure if I see any fear in here, but it
could be a good question to askyourself.
Yeah, I absolutely agree.
I mentioned talking about themoney.
That's an important.
This is one of the reasons Idon't like to work for an agency
.
So they're willing to pay myfee, that's great, but they
market up 200% for the client.
I mean that feels like they'reshortchanging me.
Even if I agreed to that rate.
My best clients have always beenthe clients who said we don't
think we're paying you enough.
(11:46):
We'd like you to up your rate.
And if you think clients likethat are unicorns, they are not.
They happen if you form a goodrelationship with your clients.
So if you are going to workwith someone, you need to
upfront tell them hey, what'syour fee?
Just to let you know.
I'm going to add 10% on top ofthis to cover my communication
with the client and my being ago-between between the two of
(12:08):
you.
If you'd like to take on thatpart of the process, then I
won't add that to the top.
You just have to be inagreement.
It's an agreement.
So even if it's not formalizedas a partnership, you do need to
formalize it in some sense sothat you at least have the
things written down and both ofyou have agreed to them.
It's CYA, it's the freelancer'sversion of corporate.
Sarah Greesonbach (12:29):
And it could also reveal some attachment
issues that you have.
It kind of goes parallel withtherapy.
Treasa Edmond (12:36):
It does Working with other people, even people
you absolutely adore or peopleyou just mesh well with.
There are always going to bemoments where you're like I just
wish she'd get her head out ofit and get working on this.
I don't care that she has 20other projects that are due
tomorrow.
She promised me she'd have methis one today.
You get to.
When you're working withanother person like that, you
(12:59):
get to experience some of theheadaches that your clients
experience, and it's notpleasant that your clients
experience and it's not pleasant.
Sarah Greesonbach (13:06):
So do you know your Enneagram type I don't
.
Treasa Edmond (13:09):
I've always been interested in that and I've
always wanted to take it, butI've just never gotten around to
it.
Sarah Greesonbach (13:14):
I know I'm an INFJ in.
Treasa Edmond (13:15):
Myers-Briggs.
Sarah Greesonbach (13:16):
I can almost guarantee you're an eight.
I'll send you that afterwards.
Treasa Edmond (13:19):
Okay, sounds good .
Sarah Greesonbach (13:20):
But we can make this relevant for Sam by
saying go ahead and do anEnneagram test with your
colleague and see how you canbetter collaborate.
Treasa Edmond (13:29):
It's never something you should enter into
lightly and you should look atall possible permutations.
Would it be better just tocontinue with the collaboration?
Should we formalize this?
Do we want to do that miniagency thing and create a formal
partnership where we only workwith one another, or are we
still going to have clients thatare outside of the?
Create a formal partnershipwhere we only work with one
another, or are we still goingto have clients that are outside
of the realm of thispartnership?
(13:50):
So all of those things needdecided.
It's complex, but whatever youdo, I wish you the best and I
love people who collaborate.
So go, sam.
All right, that is the end ofday three.
Tomorrow we're going to talkabout hitting a plateau, and
what do you do when you need tomake more money but it's just
not working out All right, thankyou, and my gluten-free waffle
(14:12):
recipe.
I love gluten-free waffles.
All right, see you tomorrow forday four with Sarah.
Welcome back to Boss Responses.
Have you ever thought aboutentering into a formal
partnership with anotherfreelancer?
Say, you're a writer andthey're a designer, and you know
that you could get biggerprojects, more complex projects,
if you worked together.
Well, that's the question Sarahand I are dealing with today.
Our answer might surprise you.
(00:22):
If you're a freelancer,business owner or anyone who
deals with clients, you're inthe right place.
I'm your host, Treasa Edmond.
I've been dealing with clientsand running my business for
nearly two decades and in thattime, I've dealt with my share
of doubt, imposter syndrome andnot knowing what to say when a
(00:42):
client asked a question I wasn'tready for, and not knowing what
to say when a client asked aquestion I wasn't ready for.
I created this podcast toempower you with the boss
responses you need to grow yourbusiness.
Each week, my guest co-host andI will bring you five episodes
packed with practical insights.
Monday through Thursday, weanswer your questions, and
Fridays, we dive deep to explorehow our co-hosts embrace their
(01:05):
role as the boss of theirbusiness.
Welcome to Boss Responses,sarah.
What is the question for today?
Sarah Greesonbach (01:16):
Today, sam wants to know.
I am a content writer and I'vebeen approached by a former
colleague who's now a webdesigner.
She would like to join forcesto offer full-service branding
packages to small businesses.
We've successfully collaboratedon a couple of projects in the
(01:39):
past and the potential forhigher-value contracts and
shared workload is appealing,but I'm not sure how to, or if
we should, formalize ouragreement.
I'm also concerned aboutpotential disputes over creative
differences.
How can we create a partnershipthat protects both of us and
clearly defines responsibilities?
Go?
Treasa Edmond (02:00):
I have a strongly held belief on this one and I'm
going to start with a caveat.
I have worked very closely witha designer in the past and we
have offered packages to ourclients.
We were not a partnership.
We collaborated, but we did notform a partnership, and we did
that intentionally.
For a lot of these reasons, Iwant to touch on a couple of
(02:20):
things Sam said here.
They've successfullycollaborated.
They've already done that.
That's great.
The potential for the highervalue contracts and the shared
workload is appealing.
Higher valued contracts great.
If you're working with adesigner, there is no shared
workload.
You're doing your writing andthey're doing their designing
and they need to work together,but it's not actually a shared
(02:44):
workload.
So I would rethink how Ithought that in my head.
Sarah and I were just talkingin the break about reframing,
and I think that's one of thosereframing situations the
disputes over creativedifferences.
If you've successfullycollaborated, clear
communication at the start ofthe project should actually
(03:06):
resolve that.
So I don't think that's a hugeissue.
The bigger issue to me is howwe can create a partnership that
protects both of us and clearlydefines responsibilities, and I
want to point out just a coupleof things, and this is all a
conversation.
You need to have a conversationwith this person about what the
(03:26):
money looks like.
So profit sharing or fees,who's going to set those?
How are they going to set them?
How's that money going to goout, client ownership who
actually owns that client, andthen what happens if one of you
want to exit this relationshipand not work together anymore.
If you can talk about thosethings like two civil adults or
(03:48):
business people, then you cantalk about regular collaboration
.
My recommendation on this iswould be not to form a formal
partnership.
It would be to keep acollaborative relationship where
you have made an agreement witheach other that this is what
you're going to do.
Get it written down and then,on each project, depending on
(04:11):
who brings the client in, theperson who brings the client in
is the lead on that relationshipand they subcontract the other
part of the work to the otherperson.
And if you have everything setup ahead of time, it makes it a
lot easier to do that and that'swhat worked really well for me.
Some people might like a formalpartnership, but partnerships
get sticky.
I've seen very few partnershipsthat didn't get sticky in this
(04:34):
type of situation.
But just make sure you haveeverything clearly delineated.
Say, sarah is the designer andI'm the content writer.
If I bring in a client who cameto me for writing, but they
really want designing as well,then I could say hey, I know
this designer.
We could bring them in on thisproject and get it all done at
once for you, and then make itone thing Would you like to pay
(04:57):
them separately or would youlike to pay one lump sum?
And then I would go to Sarahand I would say, hey, sarah, I
have this person.
They want to use your design.
Do you have availability?
Yes, great, how much do youwant to charge for this?
Sarah gives me her rate, I putit in my package project and
then I also add 10, 15% on topfor facilitating everything.
(05:19):
And then it's good to go.
That's all it is.
It's subcontracting.
It's so much easier than aformalized arrangement.
But because we do it all thetime, sarah knows that it's
going to be a well-run project.
Or if Sarah's running theproject and I'm just coming in
to do the writing, I know thatwe work well together.
And when I say, hey, sarah, howmany words do you need for that
(05:41):
page?
She's going to say 456, no moreand then we just move with it.
A huge amount of this iscommunication and making sure
that you can work with theperson, and you've already
proven that.
But I draw the line atformalizing.
That creates a partnershipwhere both of you have kind of
equal liability on everything aswell.
(06:01):
And formalized partnershipschange tax codes, they change
all kinds of things, and I wouldrather just run my business and
subcontract.
What about you, sarah?
Sarah Greesonbach (06:15):
Sorry, that was the sound of everybody
cheering in response.
It's overwhelming over here, sowe need to let it settle down a
little bit.
But I completely agree, whichis not a shocker.
I do think there are somescenarios where a partnership
could make sense, and it'smainly if you have the impulse
to creatively meld souls withsomeone else and you just want
to be up in their businesscreating new, amazing art.
(06:39):
Yeah, that's a partnership.
I've seen some things like thatGosh Creator Kitchen with Jay
Akunzo and Melissa somethingBraid Creative is something like
that.
But I think what happens inthose partnerships is that they
aren't getting together becauseit's convenient and it's going
to help them sell stuff.
They're getting togetherbecause they have this creative
(07:00):
mission to change somethingabout the world.
And I'm not really getting thatvibe from you, Sam.
I'm getting the vibe thateverybody has the business they
like and they'd love tocollaborate on some projects to
make it a little less lonely andmaybe get some more clients out
of it.
So I think the best way to dothat is absolutely with a
collaboration where one persontakes point, maybe gets an extra
(07:20):
fee for it, something like that, and you know that when they
have point on that projectthey're kind of the final word.
So you might have creativedisputes or disagree on
something, but you both haveagreed in advance that person is
a 60-40 vote instead of 50-50.
I think that's what happens,Because a partnership doesn't
have to be 50-50 or 100-100.
(07:40):
Like a marriage, a partnershipcan be whatever you want and I
think you just want to have thatconversation and communicate
that going into it so that youhave a way out and that there is
a decider who can decidewithout causing bad blood.
Treasa Edmond (07:54):
Yeah, and that's the whole communication thing.
There will be disagreements andyou need to know ahead of time,
even if you're not forming apartnership as collaborators,
what's the tie-breaking decisionin this.
So yeah, we really disagreeabout this.
I wrote this spectacular pieceof content and I think Sarah
only did kind of a half-heartedjob on the design.
(08:17):
What do I do about that?
What happens when one persondoesn't?
Don't tell her off.
What happens when one persondoesn't understand what's going
on fully, or isn't willing tocommit to that project or just
isn't working right?
You know what happens and youjust have to buy a car that
morning.
Sarah Greesonbach (08:34):
Oh my gosh.
Treasa Edmond (08:35):
Yes, it's really involves real life involves real
life, yeah, so there has to bea plan in place to deal with
situations like that, and peopleoften think, well, we're just
going to do this thing and we'llfigure all of that out later.
You're going to be much moresuccessful if you figure it out
ahead of time.
And I will tell you thosemagically chemical creative
(08:59):
processes and partnerships thatSarah was talking about.
They sat down and hadconversations or they worked on
enough projects that they wereso in tune with how the other
person worked that it just madesense.
But they still sat down and hadconversations and said, okay,
if we're going to do this, let'sfigure some things out.
Let's figure some things outand make sure that we're both
(09:20):
really going to be happy in thissituation.
And that's what it comes down to.
So it's not about and I knowthis sounds wrong it's not about
the higher value contracts.
It's about can you worktogether to create a great thing
and then the money is actuallyworth it?
The money is kind of thesecondary part of it.
Sarah Greesonbach (09:42):
It introduces really interesting questions
about like solopreneur serviceoffering partnership, agency
scaling, like it's to take youdown that road where it's like,
is it worth charging an overheadand potentially building a
bigger machine than I can reallyhandle, just to quote unquote
(10:04):
secure higher value contracts oreven longer term contracts.
And I think right now in thecreative and marketing spaces,
agencies are really experiencingsome transition, like in an
alien movie, where a remnantlike attaches to someone and
they just start like growing inweird ways.
I think people have a lot moreinsight into how agencies and
(10:25):
overhead works and so they'remuch less excited to take a cut
or give up a cut of what they'redoing.
So I would just put it all outon the paper and make sure
you're headed in a directionthat you actually want to go in.
I want to go big picture.
It could also be reallyinformative to ask yourself, Sam
, why you're doing this and seewhat decisions are you making
(10:47):
out of fear and what decisionsare you making out of excitement
and fun.
Because if you are doing thisbecause you are afraid that you
can't offer bigger packages oryou want to secure clients
because things aren't going well, I feel like that's a very
different decision from mycolleague contacted me.
I'm excited about this.
It would be so cool to do blank.
I want to do blank.
I think those are two verydifferent things and I'm getting
(11:10):
the sense when we say we wantto join forces to offer these
bigger packages, we want toprotect both of us.
I don't know Now I talk myselfinto like 50-50.
I'm not sure if I see any fearin here, but it could be a good
question to ask yourself.
Treasa Edmond (11:26):
Yeah, sure if I see any fear in here, but it
could be a good question to askyourself.
Yeah, I absolutely agree.
I mentioned talking about themoney.
That's an important.
This is one of the reasons Idon't like to work for an agency
.
So they're willing to pay myfee, that's great, but they
market up 200% for the client.
I mean that feels like they'reshortchanging me.
Even if I agreed to that rate.
My best clients have always beenthe clients who said we don't
think we're paying you enough.
(11:46):
We'd like you to up your rate.
And if you think clients likethat are unicorns, they are not.
They happen if you form a goodrelationship with your clients.
So if you are going to workwith someone, you need to
upfront tell them hey, what'syour fee?
Just to let you know.
I'm going to add 10% on top ofthis to cover my communication
with the client and my being ago-between between the two of
(12:08):
you.
If you'd like to take on thatpart of the process, then I
won't add that to the top.
You just have to be inagreement.
It's an agreement.
So even if it's not formalizedas a partnership, you do need to
formalize it in some sense sothat you at least have the
things written down and both ofyou have agreed to them.
It's CYA, it's the freelancer'sversion of corporate.
Sarah Greesonbach (12:29):
And it could also reveal some attachment
issues that you have.
It kind of goes parallel withtherapy.
Treasa Edmond (12:36):
It does Working with other people, even people
you absolutely adore or peopleyou just mesh well with.
There are always going to bemoments where you're like I just
wish she'd get her head out ofit and get working on this.
I don't care that she has 20other projects that are due
tomorrow.
She promised me she'd have methis one today.
You get to.
When you're working withanother person like that, you
(12:59):
get to experience some of theheadaches that your clients
experience, and it's notpleasant that your clients
experience and it's not pleasant.
Sarah Greesonbach (13:06):
So do you know your Enneagram type I don't
.
Treasa Edmond (13:09):
I've always been interested in that and I've
always wanted to take it, butI've just never gotten around to
it.
Sarah Greesonbach (13:14):
I know I'm an INFJ in.
Treasa Edmond (13:15):
Myers-Briggs.
Sarah Greesonbach (13:16):
I can almost guarantee you're an eight.
I'll send you that afterwards.
Treasa Edmond (13:19):
Okay, sounds good .
Sarah Greesonbach (13:20):
But we can make this relevant for Sam by
saying go ahead and do anEnneagram test with your
colleague and see how you canbetter collaborate.
Treasa Edmond (13:29):
It's never something you should enter into
lightly and you should look atall possible permutations.
Would it be better just tocontinue with the collaboration?
Should we formalize this?
Do we want to do that miniagency thing and create a formal
partnership where we only workwith one another, or are we
still going to have clients thatare outside of the?
Create a formal partnershipwhere we only work with one
another, or are we still goingto have clients that are outside
of the realm of thispartnership?
(13:50):
So all of those things needdecided.
It's complex, but whatever youdo, I wish you the best and I
love people who collaborate.
So go, sam.
All right, that is the end ofday three.
Tomorrow we're going to talkabout hitting a plateau, and
what do you do when you need tomake more money but it's just
not working out All right, thankyou, and my gluten-free waffle
(14:12):
recipe.
I love gluten-free waffles.
All right, see you tomorrow forday four with Sarah.
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