“Hello. I’m Mark.”
“Hi Mark,” you all say in unison.
“I am a freelancer. I’ve been addicted to freelancing for over 20 years.”
The crowd gasps.
“I… I just don’t want to work staff anywhere. I prefer the freedom of working for myself.”
From the back of the room, a voice yells, “We hear you, Brother!”
“I’ve been asked to speak here at Freelancers Anonymous because I share your affliction. I’ve been successful at freelancing and I’ve been hiring my brother and sister freelancers for over 12 years.”
A chant starts to grow in the room, “Mark. Mark. Mark. Mark.” (OK, maybe not.)
“Here at F.A., we are men and women who prefer the uncertainty of future checks for the supposedly higher fees we can charge and the freedom of working how, where, when and with whom we wish. We also get to watch TV for weeks on end while waiting for our next gig.”
“We are here at F.A. to help each other. We charge no dues or fees, at least not unless we’re working. We are self-supporting and make our own contributions to our IRA accounts.”
A voice screams in the darkness, “AAAUUUUGGHHHH! I haven’t been saving!”
“Our primary purpose is to stay consistently employed and help other freelancers stay out of debt.”
A tiny voice squeaks in the middle of the room, “Can I have a job?”
“Of course you can. We all can. We just need to know how and where to look. It is important that we understand the hiring practices of businesses so we stand the best chance of getting those freelance gigs.”
“Those who don’t know how to land gigs aren’t the only ones who get hurt. Their families do too. So do the businesses who hire the wrong people, simply because they didn’t know who we were.”
“The most common symptoms of freelancing are a lack of understanding of realistic hiring procedures, little marketing knowledge, lack of health insurance, a stiff neck from waiting for the phone to ring, baggy eyes from loss of sleep during rush projects and a feeling that clients never leave enough time for you to do the quality you would like to do. Sound familiar to anyone?”
“Here at F.A., we need our friends and families to understand what it takes to be a successful freelancer. We can’t do this without their support. We have to attend industry functions on nights and weekends. We have to go to late dinners with clients and potential clients. We have to work through nights and weekends when the workflow is heavy, because we don’t know how long it will last. However, we will also have weekdays available at times to do what we want and we enjoy what we do, so we’re happy. Our income potential and career advancement is also up to us, not a corporate oversight board.”
“So what are these mysterious hiring procedures businesses follow when hiring freelancers? I have discovered the Five Steps of Hiring Freelancers. These are not written procedures, but are based on actual hiring actions. All businesses start with…”
“Step 1: Clients hire freelancers they know and trust.”
“When jobs come in, it’s usually more important that it gets completed well and on-time with few hassles than it is to be the absolutely best job possible. With limited time and budgets, businesses have to feel certain that the work will be completed well and on time so they hire proven talent. Trust is important.
“When trusted freelancers are not available, businesses turn to…”
“Step 2: Clients ask freelancers they know and trust, who they know and trust.”
“Your competitors could be your ticket to more work. We all refer work to others who are talented and responsible. We know that we look good when we help a client, even if we can’t do the job ourselves. Clients who ask you for a recommendation are placing their trust in you to help them complete a project. Friends who refer you for a job trust that you will not let them or the client down. It’s good to have friends.”
A voice from the wings yells out, “I’ll be your friend!”
“When friends of friends are not available, the next action is…”
“Step 3: Clients look through their files for artists whose samples they liked and kept.”
“This should also tell you that you should always send samples that are easy to file. Over-sized samples are never kept. When you show your portfolio to potential clients, have leave-behinds for them that they can hold onto for those times when they are looking for new talent.”
“Saved samples are great, but contact information changes over time and clients may not be able to reach their favorite choices. In that case, they would go to…”
“Step 4: Internet search.”
“Before the Net, clients would have to put out calls for artists, sift through résumés and portfolios and wait for more portfolios to be delivered in the mail. Now the Net allows instant searches and online portfolios save everyone time and money. Make sure you have a well designed website which lists your contact information, credits and great samples and can easily be printed. Many Flash sites will not print properly. I have found more and more clients find me through a search on the Web. Steps 4 and 5 used to be reversed, but the Net has changed the speed and the way we work.”
A shout rings out, “I want to be Googled!”
“So do I. That’s why I make sure my site comes up high on search engine results. Put key words on your index page and page titles. Add Metatags and Metanames to your pages if possible. Submit your site to search engines. It’s worth the extra work. Plus websites save us all a lot of money in printing and overnight shipping fees of our portfolios.”
“Lastly, if needed, clients will go to…”
“Step 5: Local film guides and yellow pages.”
“Every major production city has a local film book. Clients looking for production artists will refer to the local production directories, as they know seasoned pros are usually listed there. Clients may also look in the yellow pages for commercial, fine, graphic and caricature artists. Ads are expensive, but listings are free with each business phone number. There are a number of online film and artist resource guides as well, which are getting a lot of client traffic. Determine which ones may work for you and talk to your fellow F.A. members about how their clients find them.”
“Notice, none of these steps involve clients posting an open position. Why? Because the freelance jobs usually don’t last very long. By the time a posting gets noticed, the job should already be complete.”
“So based on these Five Steps, what do we need to do? Most jobs are filled in the first two steps, so we need to make sure potential clients know who we are, what we can do and how great we are to work with. We need to network. Cold-call on potential clients and show your portfolio to everyone. Go to industry events. Help out at industry events and get involved in your field so people know how good you are to work with. Talk to people. Advertise. Ask your friends and clients for introductions to other potential clients. Blind e-mails and resumes don’t get freelance jobs. Personal contact and talent does. You can be the best artist in the world, but if no one knows it, they can’t hire you.”
“There is no better form of advertising than a job well done with the right attitude. The 80/20 rule states that 80% of your income will come from 20% of your clients. If you do a great job, clients will continue to hire you.”
“I don’t know about the rest of you, but I plan meeting each one of you and talking to every potential client I can find. I want to know them, and I want them to know me. Knowledge equals success.”
“My name is Mark, and I’m a freelancer.”
Mark Simon was a freelancer for over 10 years before starting his storyboard studio, still freelances in writing and lecturing and is also the author of Facial Expressions: A Visual Reference for Artists, Producing Independent 2D Character Animation and Storyboards: Motion in Art. He can be found lurking around with his résumé at www.FunnyToons.tv [4] and may be reached at Mark@FunnyToons.tv [5]. Mark’s books may be found and purchased online at www.MarkSimonBooks.com [4].
Links:
[1] http://www.awn.com/imagepicker/image/10579
[2] http://www.awn.com/imagepicker/image/10580
[3] http://www.awn.com/imagepicker/image/10581
[4] http://www.awn.com/http
[5] mailto:Mark@FunnyToons.tv
