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THE
WRITING
LIFE,
PART
ONE:
FISHING
FOR
FREELANCE
Published November 4, 1996
Previous columns
by
Harry Goldstein
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There are two reasons people end up freelancing: I freelance because it allows me to dig into a subject by exploring it using a craft I very much love. I have a friend who writes for the money, to support herself while she's in graduate school. For her, freelancing is a means to an end. For me, it is an end in itself. Of course, I'd leap at an opportunity to do freelancing on a permanent basis, but until that happens, I've gotta take what I can get. And what I've got is two jobs: a day gig that pays the bills, and the on-going struggle to string together freelance jobs the rest of the time. The following observations apply most specifically to freelance writing, but many of the principles are the same, no matter what niche is: Web design and production, film and video, photography, whatever.
The process of obtaining freelance work is not too different from that involved in getting a full-time job. "Network, network, network" is the mantra. Persistence is key. I spend as much time trying to place pieces or land assignments as I do writing and researching. In New York's Silicon Alley, party-going is as integral a part of getting work as is the body work you've already amassed. This is great for schmooze fiends, people who feel comfortable enough in social situations to manipulate conversations to their own projects; to feel people out on whether they might have work or not. It's perfect for loquacious self-promoters who can pass a business card into your hand as subtly as a professional prestidigitator.
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The main caveat of networking is "never burn your bridges."
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For the rest of us, the key to getting work is getting work. This means doing stuff for free, or close to it, especially when you're first starting out. I've worked with young Web designers, guys just out of college a few months who did phenomenal design work, but who had to take a couple of jobs at well under what they probably deserved because they needed to build a portfolio. I was in the same boat a couple of years ago, when, in order to gather clips, I reviewed books for an academic journal for free. Now with so many startup companies on the Web looking for content to showcase to potential advertisers and investors, there are more chances to freelance than there were two years ago. For those who are writing, editing, producing and designing, there are now hundreds of places to e-mail URLs you've worked on, to pitch on stories and projects, to familiarize yourself with so you can tailor your work to their needs (something you should do for print publications as well).
I also took advantage of the relationship I'd built with a magazine where I'd had an internship. This leads me to the main caveat of networking -- don't burn your bridges. You never know when you might find yourself in a position where you'd want to bank on a prior relationship for a gig. It's just common sense that you have a better chance at getting freelance work from people with whom you are a known quantity. Refresh those relationships from time to time, with a quick e-mail or phone call. And try to keep up with people as they move from job to job, especially in publishing, which is so competitive that you must use any "in" you might have to get work.
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Networking is a great thing, especially when no one knows you from Adam's housecat.
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Above all, don't hesitate to ask people if they know of work or to pitch them on a project directly -- they might not be able to help you out right there and then, but if someone knows you're interested in working, word can get around and you could end up getting a call. People usually aren't going to be openly hostile -- usually they like the idea that you think they can do something for you -- and even if they are hostile, so what? Figure it this way -- you have nothing to lose and everything to gain by making those calls, following those leads and staying on the case. That's the great thing, especially when no one knows you from Adam's housecat.
The thing is, no one's going to call you out of the blue. You're going to have to work as hard to get the job as you're going to work on the job itself. It's not about that old saw -- everything worth having is worth working for -- it's about survival. You have to see it that way, if freelancing means doing what you love. You have to commit -- at least to the extent that you devote a large amount of time to pursuing work. As for the ultimate commitment -- going out and trying to live exclusively off freelancing -- good luck! The only person I know who does it has no health insurance and pretty much scrapes by. This also means he gets to set his own schedule and devote time to writing screenplays. He's banking on his talent and on his passion, a bet he can't lose as long as he's doing what he loves. But if you think you're going to get rich right away from freelancing, well, you've got another think coming. We'll talk about that in my next column.
COMING NEXT MONTH -- Part Two: Freelance Finances
Harry Goldstein is a writer and editor living in Manhattan. His work has appeared in Utne Reader, American Book Review, Promethean, AltX, word.com, and other periodicals.
© 1996 Harry Goldstein, All Rights Reserved
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