The secret life of freelancers

Freedom fighters Going freelance isn’t a shortcut to Easy Street. Independent artists tell Dom Carter all about the behind-the-scenes work that it involves

Going freelance isn’t a shortcut to Easy Street. Independent artists tell us about the behind-the-scenes work it involves.

Thanks to the flexibility and autonomy it offers, working as a freelancer is a tempting employment option for artists. But that doesn’t mean you get to do whatever you want, whenever you want. There are workloads to juggle, taxes to sort and pitches to present. You also have to knuckle down with a healthy dose of discipline, because the freelance lifestyle won’t look after itself.

“It sends shivers down my spine when people tell me I’m ‘lucky’,” says illustrator Iris Compiet. “It implies we as artists had nothing to do with it, that everything was just thrown into our laps. ‘Luck’ implies it’s easy, when in fact it takes a lot of hard work and sacrifice. If it were easy, everyone would do it.”

However, this doesn’t mean you need to hang around if you’re thinking of pursuing the freelance dream. Sculptor Ellen Jewett hit the ground running as soon as she finished her undergraduate studies. “To my younger mind, the self-employed adults in my life were rock stars. And if they could do it, so could I.”

MIX AND MATCH

Of course, no two freelance careers are identical, and it’s up to you to find a setup you’re happy with. Crucially, this means that you can earn an

I thought the self-employed adults in my life were rock stars. And if they could do it, so could I

income through a variety of fulltime and part-time positions.

For 16 years Iris took a day job as a graphic designer as she experimented with creating children’s book illustrations. “The jobs were low paid and just not fulfilling to me. But because I had the day job I could figure things out without having to worry about making enough money to pay the bills.”

Putting in the hours at a full-time role has more benefits than financial stability. “I had done a bit of freelance work here and there in the past, but this time I was going all in,” says freelance concept artist Gilles Ketting, who had worked in-house at several studios for a decade before taking the plunge.

“I think that having worked at several game studios before I went freelance made it easier, though. I had a lot of contacts in the industry and, of course, a CV that could back up my portfolio.”

There’s no shame in working in a job that’s unrelated to your artistic aspirations, either. “Work on dispelling the notion that if things dry up, having to get a part-time job means that you have somehow ‘failed’,” says author and illustrator Lily Williams. “I worked at a bookstore for a while and loved it. I learned a lot, too!”

BALANCING ACT

If each freelance career is different, then the same can be said of the average working day. Deadlines

Don’t overlook the administrative duties that going it alone involve

understandably dictate an artist’s workflow, but it’s important not to overlook the administrative duties that going it alone involves.

“I usually answer emails and do clerical work – send emails, money management, website upkeep social media, for example – in the first half of my day because I draw best in the afternoon,” says Lily. “I don’t allow myself to draw for more than about five hours a day because my body is my tool and I can’t risk injury.”

Without following a clearly defined routine, it’s easy to spend too much time working, at the expense of a social life. This was a pattern that

Gilles found himself in when he started freelancing. “Nowadays I try to get up at a more normal time, especially since I realised that I’m most productive in the morning,” the artist says.

“My admin work is often left for the afternoon and it’s rare if it takes up more than 10 per cent of my day. Emails can take up quite a bit of time though, so whenever possible I like to call or Skype to get feedback.”

Iris is another early bird. “The ideal balance would be two hours a day spent on emails, social media, admin and so on. Preferably done in the morning so the art is like a cookie for me. The ‘not so fun parts of the job’ are out of the way then and I reward myself by making art.”

For Ellen, the key is to work smarter, not harder. “I’d say it’s all about planning, refinement and constantly assessing and revising my routines. Although I think most witnesses would testify that I work very hard.”

I never assume that a job will come in, because that’s a quick way to end up in a sticky situation

EMBRACE UNCERTAINTY

Thriftiness is a common trait among freelancers, which is unsurprising given that clients are under no obligation to work with you beyond the commissioned work.

“I try to live well beneath my means,” says freelance artist Sean Sevestre, “as I never assume that a job will

come in, because that’s a quick way to end up in a sticky situation. Make sure that you’re able to handle your outgoings for at least a couple of months in advance, in case of an unforeseen dry spell.”

Longer contract work makes it easier for Sean to take into account his expenses, but when he started out as a freelancer he was always planning for times without work. “I prioritise freedom over stability, and even freelancing can be stable over time. As long as you’re nice to your clients, deliver your best work and deliver on time, people will come back to work with you again.

Despite this uncertainty, Ellen says that potential freelancers shouldn’t wait for permission. “If you’d like to spend 30 hours a week painting, then start tomorrow! Don’t wait for an audience or gallery or client to ask for your work – have it ready for them.

“The more you produce the better you’ll get, and the more you’ll find what you’re looking for in your work. And if you post it all somewhere it can be seen, you’ll greatly improve the chances of getting noticed.

“Ultimately, it’s up to you to find a way of working that works for you and makes you happy,” adds Sean. “That’s the beauty of freelancing.”

“One popular misconception I would dispel is the idea that as a freelancer I spend all my time creating art… I wish,” says Iris Compiet. “I only have an ‘average’ week or month as a freelancer when I work in-house for a client,” says Gilles Ketting.

Ellen Jewett estimates that 80 per cent of her fluctuating workflow is spent on production, with the remaining 20 per cent dedicated to correspondence, marketing and admin.

“When you project your potential earnings, be conservative in your hopes and expectations while being ambitious in your pursuit of goals,” says Ellen.

Despite its hidden stress, the only thing Iris would change about freelance life is getting some assistance with order fulfilment.

Gilles changes his daily routine to accommodate working hours in different time zones. “I don’t think my clients necessarily expect me to do that, but it just makes things easier for both parties.”

“Having time to work on my projects and skills is important, so I like being able to control how much of that time I keep or give to a client,” says Sean Sevestre. Lily Williams doesn’t think that the uncertainty of a freelance career is a bad thing. “Uncertainty is scary, but liberating! You never know what could happen – good and bad.”

Sean says freelance artists can save valuable time by reading the brief carefully. “You need to fully understand it in the beginning, no silly questions.”

Being able to manage her day-to-day schedule is Lily’s favourite part of being a freelancer.

With some experience, Ellen says freelancers can start delegating tasks they don’t like. “You can also shift your goals according to the evolution of your desires.”

Sean says time away from work is equally important as creating. “Go outside, do some exercise, smell some flowers, go to a pottery workshop.”

Gilles still finds himself doing 16-hour days because he enjoys his work. “This isn’t healthy though and I would say it’s one of the reasons I would consider going back to employment.”

“Keep your weekends for you,” advises Iris. “I struggle with this sometimes, when I’ve said yes to too many amazing projects.”