You’ve considered the pros and cons of leaving your cozy staff editor job at the post house. You’ve taken the time to build yours skills and a network of peers and potential clients. You’re ready to make the leap into the dizzying world of freelance editing.

Here are six tips to help smooth your transition into self-employment, care of editors Martin Nelson, a Washington, D.C.-based freelancer, Rosalie Wong, a freelancer in south Florida and Bill Bauman, an electronic media specialist for the U.S. Army Safety Center who works freelance jobs on the side.

1. Find your bread and butter

When first starting a freelance career, try to line up one big client who can give you work on a semi-regular basis. This “bread and butter” client may not be able to guarantee you 20 to 30 hours a week, but they may be able to throw a lot of work your way during your start-up period.

“Before I quit my job, I already had at least one client lined up that I knew would be able to give me work on a regular basis,” says Wong. “It was very important for my own peace of mind to have that. It was something I could count on while I was starting out.”

Wong warns that freelancers need to be honest with themselves in what they want in a bread and butter client and what they really expect of themselves as independent editors. “There are a lot of positions out there where you can work 30 to 40 hours a week as a ‘freelancer’ or contract employee, if that’s what you really want to do,” she explains. “Network television shows, for example, can offer just such opportunities.”

If you accept a 30- or 40-hour-a-week freelance contract, you still have the responsibility of a full-time job without added benefits, such as health insurance or a 401(k) plan. Such a bargain may provide a sense of security, but it can leave you very little time to go out and pursue other clients, warns Wong.

On the other hand, a full-time job may liberate you to pursue a more fulfilling freelance career on the side. Bauman notes he has worked primarily in staff positions for his meat and potatoes while taking freelance jobs that provide some gravy. Although he did work strictly freelance for approximately a year, he opted to return to his previous arrangement.

“Because I get a steady paycheck, I’m in the position to decide whether I want to accept a [freelance] job or not,” explains Bauman. “When you are only working freelance, you don’t necessarily have that option. You have to balance taking a job you don’t particularly like [with] earning zero dollars and eating Spam that week.”

In general, Bauman has found that his freelance clients are willing to work around his own schedule. “At this point in my career, there are enough people out there who ask specifically for me to edit a project,” he says. “Sometimes that means I arrive Friday night, work Saturday and Sunday, and then leave Sunday night so I can be back to work on Monday. The people I work with are willing to put up with that.”

2. Self-promotion is an art

Editors new to the freelance game can have a difficult time marketing themselves to potential clients. If you want a full calendar of jobs, it is imperative to continuously make calls to post houses and other potential clients. Be prepared for rejection and unreturned phone calls.

“It took me a long time to get used to cold calling people and offering my services,” admits Nelson. “Most major metropolitan areas have some sort of video or film source book, and people are often happy to talk with you if you are exploring freelance opportunities. Also, check out the businesses listed in the yellow pages under video production and call those people as well.”

Hot Web Sites for Freelancers

Looking for a few good Web sites to help you network with your peers in the virtual world? Freelancers Rosalie Wong and Bill Bauman offer these favorites:


Associations and Organizations

American Cinema Editors

Motion Picture Editors Guild

National Association of Broadcasters


Information and General Resources

Creative Planet

Digital Media Net

DV.com

National Association of Broadcasters Information Center

Video University


Employment

Avid.com

Mandy’s International Film and Television Production Directory

National Association of Broadcasters Job Bank

If you don’t pick up the phone, chances are you’ll feel the fallout immediately. “There have been times when I didn’t have any jobs booked for the week and I worried about where my next job was coming from,” says Wong. “That’s when I know I failed to make the sales calls I needed to make. You don’t want to be in the position where you’re wandering around the house looking at the phone and waiting for it to ring.”

When telling potential clients about yourself, don’t oversell or make promises you can’t deliver, Bauman warns. Don’t lie on your résumé, and be honest about your skills and knowledge.

“You need to be up front about what you can do,” explains Bauman. “If you can work in any aspect of video production, be sure to say that and not just say that you can edit video. On the other hand, for example, my reel has some high quality 3D animation on it that I cut. I have to make it clear that I did the editing, not the animation.”

3. Be Persistent

Nelson says it is perfectly all right if a post house or potential client doesn’t have any work for you when you call. The point is that work may come up in the future and the call is a way to get your foot in the door. Remember, the goal of a cold call is to introduce yourself and get to know the key people in area facilities. This is assuming, of course, that you actually get a human on the phone.

“You’ll find that people generally won’t return your voice mail messages, not because they don’t want to talk to you, but because they are busy,” explains Nelson. “Returning phone calls is not at the top of their list of things to do. It’s very important that you keep calling, even if they don’t return your calls. I’ve found that maybe one in 10 people — if that many — will tell you to stop bothering them. The rest are perfectly fine with it.”

The good news, according to Nelson, is that the longer you work as a freelancer, the less time you’ll have to dedicate to making sales calls. “You’ll never completely stop making cold calls, but as more people get to know you, you’ll find that you won’t have to do it as much,” he says.

4. Be Quick With The Resume

Nelson advises freelancers to always keep a stack of current résumés, reels and video shipping boxes with the right postage on them on hand for quick mailing. The trick is that whenever a potential client expresses interest in hiring you for a project, offer to send your professional information and then do it right away — preferably the following morning.

If you fail to get your portfolio out to people who express interest on a timely basis, it could translate into lost revenue, Nelson warns.

While it is very important to keep your résumé as current as possible at all times, keeping your reel up-to-date is actually less vital. Freelancers first starting out will discover they need to update their reel on a regular basis, Nelson says. However, as they gain more experience and become better known, they will find they won’t have to update their reel as often.

“When you’re first starting out you want to update your reel as often as possible because you are gaining experience, the quality of your work is improving and you are refining your technique,” explains Nelson. “As you become better known and more experienced, it’s less important to do that. For example, the reel I have is now three years old.”

As for a cover letter, while it is nice to put one together, Nelson finds that a quick handwritten note can be just as effective. “If you don’t have time to type out a cover letter, don’t be afraid to attach a handwritten note on personalized stationary instead,” recommends Nelson. “You’ll find that a lot of people actually view it as a nice personal touch.”

5. Believe in Karma

People who remember people they work with may well become the luckiest people of all in the freelance game, according to Nelson, Wong and Bauman.

“I absolutely believe that what goes around comes around,” declares Nelson. “I have a list of editors’ names that I keep handy. If someone calls me and I’m too busy to take the job, I will recommend people off the list and ask that if they hire someone I recommended that they tell that person who provided the reference.”

Nelson adds that his caveat is actually meant as a common courtesy for his peers, since most freelance editors like to know who is sending them clients.

Wong goes one step further. She says that she can broaden her network beyond her fellow editors by remembering and recommending people in related fields. If a client asks, she is willing to recommend directors, producers, camera people, lighting people, Web site designers, graphic artists and others.

“The ability to network is one of the most important skills you can have,” stresses Wong. “The network you build can be as broad as you want. I try to keep track of different people that I come into contact with. These people are not just potential clients, but also people that can help me build my career and I can help them build theirs.”

Bauman notes that your network can also extend to the Internet. Editors that spend time on email discussion lists and Web boards can offer technical and career support and advice. In addition, Web sites geared at the post-production industry may offer editors the opportunity to post résumés or search job listings.

6. Get a good accountant... and a copy of Quicken

Keeping up with the financial paperwork is a huge headache for most freelancers. That’s why it’s important to have a good accountant who can advise you on business matters and a software package to help you keep track of your finances.

“People don’t realize how quickly you can get into trouble if you don’t have someone to work on your books and help you keep on top of finances,” says Nelson. “An accountant or accounting service, preferably one that has other clients in the same field, is absolutely necessary. They are the ones who can tell you what things you can safely write off on your taxes under the heading of business expenses or research.”

Aside from helping you with taxes and business expenses, a good accountant can also help you make important business decisions. For example, Wong says her accountant works with her on business strategy. “For example, we’re now discussing whether I should incorporate or continue working as an independent contractor,” she explains. “That’s the kind of advice you can get from an accountant.”

While an accountant can help with the big picture, there are still plenty of things a freelancer must do himself or herself, such as invoicing, billing and bill collecting. For that, it helps if you have an accounting software package, such as those offered by Intuit’s Quicken line.

“Software is a must,” stresses Wong. “It helps you keep track of the hours you work, your costs of doing business and what you bill clients. I simply couldn’t live without these things.”

But all the software in the world won’t help if you aren’t disciplined about getting your financial paperwork in order, Wong warns. “I’ll be the first to admit that it’s tough to go out and work on a job all day and come home only to type up invoices,” she comments. “You also need to check your schedule, look at your billing and check to see if you need to follow up on any bills.”

The hardest part, Wong adds, is that the more successful and busy you are as a freelance editor, the easier it is for the financial paperwork to pile up. “There are some days when I drop my daughter off at school and then go back home only to spend the rest of the day on the computer,” she says. “It’s not editing and I’m not on a job, but getting that work done is still vitally important for my financial well being.”

Read part one of this article.

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