A potential client discovered me via LinkedIn, and contacted me about a project. They wanted me to write a white paper-ish document. I use “ish” because it didn’t truly fit the definition of white paper, but was similar. It was in a field out of my usual wheelhouse, but a topic in which I was interested and could get up to speed quickly.
They had no interest in a
per-project rate for this; they wanted to pay per word.
I rarely do a per-word rate
anymore; per project makes much more sense for both the customer and for me.
When they quoted me the per word rate, it was considerably lower than what I use.
I told them that the per-word
rate was below my usual rate.
Them: It’s non-negotiable.
I already figured out I
wasn’t going to do this gig, but I wanted to get more information, just to
either prove or disprove my growing suspicions.
I asked them how much of the research they would provide, how much I would provide, and what sources or references they would point me toward. Some of the information/sites I knew were behind pay walls. What was the budget for that? From the creative brief, it would take somewhere between 12-20 hours of research, along with interviews and fact-checking, to complete the project, if I had to start from scratch.
The answer: None. I was
expected to handle all the research.
I then explained that it
made more sense to use a project rate quote than a per word quote.
The response: “We don’t pay
for research time. We only pay by the word.”
Me: I’m not paid for
Them: We don’t pay for
Me: Are you willing to provide the research?
Them: No. You’re
responsible for the research and fact-checking.
Me: But you don’t pay for
Them: That’s correct. We
only pay for the words written.
Me: I’m not the right fit
for the project.
Them: We don’t negotiate
Me: I understand. And I am
not the right fit for this project. Thank you for thinking of me. Goodbye.
Had I accepted this
project, I would have worked for less than half of my per-word rate AND put in
12-20 hours of unpaid research. AND paid for anything that was behind pay
In other words, it would
cost me money to work for them.
Research time is work
time. Finding trustworthy sources, hunting through archives, taking notes, making
sure one has the references correct, fact-checking. All of that takes time, and
that time is worth money.
Even if a client provides
research, one still has to read it and, in some cases, fact-check.
That takes time.
That time consists of
Project quotes make more
sense for a piece such as this. You can look at the creative brief, figure out
how long any research/reading/fact-checking is likely to take, figure in a
decent rate for writing the article, and come up with something that works for
both of you.
If the potential client’s
budget can’t encompass your project quote, you can negotiate scaling down the
scope to fit into the budget, or you can refuse the project.
“We don’t pay for research
time” is a huge red flag. It means the potential client expects free labor as
part of the contract, and is a good indication of future scope creep without
One-way interviews have become more common during the virtual interview process of pandemic. “Send us a three-minute introductory video.” My response to that is, “Are you high, sweetie?”
First of all, any
interview is a two-way street, or you are the WRONG place for me. I’m
interviewing you as much as you’re interviewing me.
A one-way interview is a
waste of the interviewee’s time.
I am not an actor. I do
not make audition tapes and perform for you.
I am a writer. I’ll write the scripts for the spokespeople in your video spots to rehearse and perform.
But I am not performing in
order to “earn” an actual conversation with someone in the company.
As someone who worked in
production, let me break down what it means, in terms of time, production,
labor, and cost to do a three-minute video:
—Script. You need to know what you’re saying, even for (especially for) an introductory video. When I started writing short corporate script videos, that paid per finished scripted minute, it was $85-110/hour. Now, it’s more likely to be $200-$300/hour. Right there, it’s a loss from $255-$600. Figure that includes 2 rounds of revisions, possibly more as you rehearse. How fast do you write? How many hours will it take you to come up with 3 minutes of material? If you’re used to corporate video shoots or short shoots, probably 3-4 hours. If not, it could take three or four times that.
—Location. Where will you shoot it? Inside? Outside? We’re in a pandemic, so your options are limited. Hopefully, you won’t have to pay a location fee (if you don’t use your own premises, but there’s still the time and decision involved). On the low side, it’s another $100 .
—Set. How will you decorate your surroundings? Even if the video is head-and-shoulders, what kind of chair will you sit in? How much does the camera take in? You’ll need to set decorate your workspace. Is part of the interview showing them your remote work set-up? On the low end, that’s $125/hour. Figure 2 hours to set up the space the way you want it. That’s $250.
–-Props. Again, even if you’re doing a head-and-shoulders at the desk, or standing, shooting on your phone, you may need props. A pen? A notebook? You want them to see your tech? Figure at least one hour at $100.
—Lighting. Good lighting is vital to a decent video. Figure $50/hour. Once you get the set, props, costume, make-up in place, you’ll need to light it, shoot tests, and relight. Remember that, unless you’re blocking out daylight, as the sun moves, it affects your video. Figure 4 hours or $200.
—Wardrobe. What will you wear on camera? You need something that doesn’t wash you out, isn’t too busy or distracting, and makes you both look and feel good. If it feels uncomfortable, your body will react, and the camera will read it. A wardrobe/stylist is about $120/hour. Figure 2 hours of deciding what to wear and how to accessorize, and at least an hour of prepping the clothes – steaming, ironing. Alterations are an additional time at an additional fee. Do you have to buy something for the video? That’s another cost. But it’s at least 3 hours at $120/hour or $360.
—Makeup/Hair. Again, you’ll need to play with it in the lighting, with the wardrobe and do tests.
Non-union can start as low
as $25/hour. A good one will cost you a good deal more than that. You’re
probably non-union. Figure an hour to play with makeup and hair to decide what
you want, and then an hour to actually do it. Again, you’ll need to shoot tests,
but we’ll get to that later. Figure $100.
—Sound. Does your recording device have decent sound? Is it tinny or does it sound like you? Do you have to unplug anything that runs in the background, shut doors, muffle anything? Chances are you can’t/won’t need to edit the sound or add Foley. Sound techs start around $20/hour and go up from there, depending on skill level and specialty. Give yourself an hour to play with your options. $20.
—Rehearsal. You’ll need time to rehearse, revise, memorize. Actor fees can start as low as $50/hour and sky’s the limit. Figure 4-6 hours rehearsal time, so $200-$300. You are your own actor/spokesperson for your brand.
—Test shoots. You’ll need to shoot test footage for the look, the sound, and shoot some of the rehearsals. If you really have your act together, two hours at $50/hour, for $100. That’s lowballing A LOT, because you’re putting together all the elements you worked on.
—The actual shoot. When I production managed film, we broke it down by 1/8 of a page for the schedule. For feature film production, one hoped to get through 2 pages per day. When I worked one-hour drama television production, it’s much faster. It’s broken down the same way, but you usually need to get through 7-10 pages per day. You’ll need multiple takes, and you’ll need to look at the takes and make adjustments for other takes. Give yourself 3 hours. Since you’re wearing all the hats, and you did all the prep, and should be in good shape, figure $250/hour for 3 hours, or $750. You think three hours sounds crazy for a three-minute video, but it’s less time than you’ll probably need. You’ll note I haven’t listed a director’s fee in this set-up. If you’re lucky enough to have someone to act as your director, that’s another fee, but I’m assuming you’ll go director-less. Since this is more of an audition tape.
–-Editing. Are you going to edit the video? Do you have the editing software? Do you have editing skills/experience. Direct Images Interactive talks about how a 2-minute video takes about 34 editing hours, and can cost between $3400 and $4250. If you don’t have a bunch of cuts because the entire interview is done in single takes and you don’t edit sounds or effects, dubbing, or adding music, but just shaving a few seconds here and there or adding filtering, figure 10 hours or $1000.
In order to make your “quick,
3-minute intro” you’ve put in the equivalent of:
40 hours (a full work week)
$3435 – $3520 unpaid physical
We haven’t even gotten into the unpaid emotional labor involved.
All your work HAS value and needs to be valued. This attitude of “well, everyone has a YouTube Channel” and “everyone is slapping up videos” — no. Putting together a production is skilled work with many aspects, all of which have a price tag and deserve to be valued. In the age of COVID, there are many more one-person production teams. Again, ALL of the elements must be valued.
Even if the job pays
$60K/year, you’ve put in the equivalent of nearly 2 weeks’ worth of salary to
submit something that will never be reimbursed, and where you don’t get to have
a conversation/ask questions/get a sense if this is a place you want to be.
“Make an introductory video”
robs you of $3500 worth of billable hours with zero promise of return. For a
job that is unlikely to have any video production involved in it.
Because if it WAS a video
production job – they’d look at your reel, and not expect you to create
something “introductory” for them without pay.
Because professionals should not demand unpaid labor, especially not as part of the interview process.
Basically, you’re being asked to audition like an actor, but without the benefits an actor gets from making an audition tape. And yes, plenty of actors spend this much time, money, and effort on audition tapes. Which is a form of unpaid labor inherent in the acting profession, and can lead to a labor conversation on a different post.
Beverlyboy.com, which deals in professional video services, suggests figuring $1500 to $10,000 PER FINISHED MINUTE for a video. A three-minute video would cost $4500-$30,000. Yes, it’s for something polished with a professional crew. They have a great breakdown, and show some terrific examples of their work.
“But it’s not professional,
it’s just an introductory video.”
If it looks like crap, you won’t go any further in the process. Even if you’re doing it yourself, you’re wearing all the hats. Every job you undertake to put together the video needs to be costed out and deserves payment.
If you like the idea of an introductory interview/audition tape, now you know what you need to create one that’s unique to YOU, not a particular job. Put it on your website. You do it once, and then use the link to send potential clients/employers to it. But it is about YOU — not specific to any given company.
If you start your
relationship with a new-to-you company by doing this kind of work for free, it
does not bode well for your future relationship. You’ve already said you are
willing to be overworked and underpaid (not paid) for maybe-someday getting
rewarded. Which doesn’t happen.
Don’t do it. When you see the demand for a one-way video interview in the job description, click away. It’s not worth it. The real test they’re giving you is to see if you’re willing to let them take advantage of you.
Yes, I’m back. I’m still
working on the article about how companies are driving away skilled workers,
even as they scream they can’t find them. But I didn’t want to be off this blog
for too long, and there’s something else I’ve been grappling with and coming to
terms with over the past weeks that I decided to share.
I noticed, as I research
companies with whom I might like to work, that I’m drawn to different areas
that I was eight or nine months ago.
More and more often, the
title of the job turns me off. I don’t even need to read the description. Or, I
get about two paragraphs in and say, “Nope. This isn’t for me” then click away
and move on.
When a company genuinely
captures my attention, whatever positions they claim to look for, I dig into
the research, find the right person, and send an LOI, telling them why I think
I’d be a good choice for their company, either for a particular project, or in
In the past couple of
years, I’d moved away from that, but now I’m going back to it.
The layers between the
people one would actually work with have become more convoluted. Notice I say “work
with” and not “work for”. That is deliberate. I’m not at the start of my
career. I am interested in “working with” even when I technically have a boss.
The issue of layers is especially
deep when third party recruiters are involved, which is something I go into the
other article I’m working on for this space. I have to say, all of the third
party recruiters I’ve encountered in the past ten years have been a waste of
space, and have certainly wasted my time (and therefore, I’m sure, the company’s
time). As I track the listings for companies using third party recruiters for
the past year or so, I notice they fill a job, and then a few short months
later, they’re looking again to fill the same job. I suppose that keeps recruiters
in business, but it doesn’t do the client companies much good.
As I noted above, I’m
looking for something different now than I even was at the top of the pandemic.
I’m more focused, and less flexible. Part of this is due to a recalibration of
what I want and need out of my work; part of this is that I am not twenty
begging for my first job, but someone with decades of experience and skills. I
no longer have an interest in working FOR a company that does not value either
of those, by underpaying me or by trying to shove me into a position that’s more
about work no one else wants to do than about my skills.
The SEO keywords used in
the position descriptions are just as likely to turn me away from a company as
engage my interest.
(This article turns out to
be tied to the one I’m still working on, about companies driving away skilled
But even when the descriptions
are accurate and the company is interesting, there are roles in companies that
no longer interest me, even though they used to.
In the past, if I was
interested in a company, I was willing to take on tasks out of my wheelhouse in
order to expand my skills, or do something that’s uncomfortable if they agreed
it was temporary. Of course, it never is; once you take on more than your job,
it becomes your job. But if I overall liked and respected the company’s mission
and vision, especially if it was a nonprofit, I was more likely to accept a
broader range of tasks.
That is no longer true.
I know what I want my tasks
within a role to encompass. If the company is trying to cut corners by hiring
one person with strong skills in one area, but minimal skills along a wide
range of areas instead of multiple skilled individuals, that position – and that
company – is no longer a good fit. Because let’s face it, most companies WON’T
train, no matter what they promise. They expect you to figure it out on your
own without additional compensation. Usually on your own time.
At twenty-three, it was an
interesting challenge, especially if I thought I had a future with the company.
In theatre jobs, I was always willing to
take on more, because I knew the theatre was my career, and I would progress. I
did. I made it to Broadway.
In non-profit work, I
often took on extra tasks because everyone was working flat out more hours for
less pay. But after awhile, there’s burnout. Resentment builds, no matter how
committed one is to the mission, because that way of working is unsustainable.
Boundaries need to be set
going in, by both parties, held, and respected. Most managers will keep
assigning as many tasks as they can get away with, no matter what you agreed
upon when you started.
As a freelancer, it’s
often easier to hold and set boundaries. I have a contract that spells out boundaries,
payments, etc. When scope creep threatens, I can point to the contract and say,
“Sure, I’ll take that on; this is how much it’s going to cost.” I can also say,
“That’s not part of the agreement, no.”
But as I’ve been
researching a putting together LOIs and pitch letters to companies these last
months, I’ve noticed what keywords turn me off instantly, or, as I read a description,
I realize, “no, that’s not for me.”
At first, I was worried
that I narrowed my options. I could hear the toxic reprimands we’ve all had at
times: “You need to be a team player” or “Where’s your commitment to the company?”
or “You need to take this on right now to get us through this rough patch” or “How
can you succeed if you won’t do what’s needed?” or “Your job is to make me look
Notice all of these are
demands. None of them are questions to negotiate or navigate new needs as a company
grows and changes.
They’re about guilt and
manipulation rather than problem-solving, which is unsustainable.
I’ve since made peace with it. Trusting my gut
has always been the best choice. I’ve paid for it every time I let myself “logic”
a way out of what my gut told me.
As a professional, I’ve
grown in skills, knowledge, experience, over a wide range of topics. Some of
those skills I enjoy using; others were hard-won and are painful to implement.
Why would I make choices that increase my pain load instead of choices that
make it exciting to get up in the morning and get to work?
We all hit periods where we
have to take whatever’s offered in order to keep a roof over our heads and food
on the table. But we keep growing, searching, changing for what is better for
us and for our situations.
It is okay to discover
that what worked for you five years, ten years ago, or even ten weeks ago, no
longer does. That knowledge gives you a foundation to make new discoveries and
make decisions based on what makes your life better.
Liz Ryan, at the Human Workplace, emphasizes how we are the CEOs of our own companies. That’s so important to both remember and to implement. Right-to-work means companies have made the choice their workers aren’t worth loyalty. So workers need to make the choices that serve their lives best.
How have you found what
you want and need from your work evolving over the past months?
Freelancers talk a lot
about “scope creep.” That’s when a project starts with one set of parameters,
and they keep expanding.
One of the joyful parts of
creative collaboration is how a project grows and changes. When you’re writing
a musical, it’s one thing – you have a development process, you’re being paid
for the changes along the way, and your goal at the end is to have a viable
musical where people walk out of the theatre humming the tunes, buy the CD, and
sing it in the shower for the foreseeable future.
To get there, you need the
project to grow and change.
But the “scope” and the
vision are there from the beginning, and is covered by your contract.
There – the contract. That’s
how you control scope creep.
I’m seeing more and more job descriptions stating “tasks will be added as needed” or “this description in no way encompasses all the tasks the job entails.”
Why aren’t companies being
upfront about what they want in the position?
The first is that the
person who wrote the description has no idea what the job actually entails, which
The second is that the company
wants the option of dumping whatever they want into the position whenever they
want, without additional compensation. Which is not acceptable.
As a freelancer, you have
the protection of your contract. Because, as freelancers, who set our own hours
and meet deadlines, we work on contract (or letter of agreement), which gives
us protections that a salaried employee often does not have.
Your contract can protect
you from scope creep.
Your contract will grow
and change as your business does.
After your initial
conversation with a new client, when you are setting terms, take some time and
think about the parameters of the project as discussed, potential direction for
“scope creep” and how much each direction will cost. Then, put those
possibilities into the contract.
For example, I have a
clause in the contract that states I include two rounds of revisions in the
scope of the project; additional revisions are at an hourly rate.
When I receive the second
round of revisions, I send a reminder that this is the second round of
revisions, and anything beyond that will be at the hourly fee.
Often, far too often, I
get this response: “Oh, this isn’t really a ‘revision.’ It’s just a few tweaks.”
No, it’s a revision.
Changes are revisions. I have had clients where I actually put the definitions
of “revision” and “tweak” in the contract.
Dates and Turnaround Times
I put in turnaround times
for revisions, too. If I hit my deadline to turn in material (and I do), the
party on the other end needs to get back to me in X amount of time with any
revisions. Projects can’t drag on interminably, so a series of dates within the
contract is vital:
–Deposit is due on X date
–When deposit clears, I
start the project
–I get my first portion
done on Y date
are back to me by Z date
–My next revision is due
on L date
–Response is due on M
–Final work is due on N
–Acceptance or additional
requests for changes is due on O date
–final payment is due on
–late payments are
changed with R fee, cumulative every 30 days (I start late payments at 20% of
Longer projects may have
payments broken up over three, four, or even five dates. If payment doesn’t
arrive on the date, work stops on the project until payment arrives.
“This is business, not
personal” works both ways. Far too many companies expect you to take their
business personally as far as emotional investment at higher stakes than they
do, but if they default on payment or otherwise treat you poorly, it’s “just
Works both ways.
Change of Direction
I also have a clause in my
contract about “change of direction.” If a project changes direction from our
initial agreement (and the parameters are listed in the contract), I have a
clause that lists the fee. Sometimes it is necessary to come up with a new
agreement, if the change of direction is going to change turnaround dates and deadlines.
Late Fees/Rush Fees
I have a clause for late
fees. Late fees (more than 30 days after original due date) are at 20% of the
project fee, cumulative. Which means if it’s 60 days late, it’s the original
fee + 20% + the total of that.
Rush fees are for work
turned around in less than three business days start at $35, depending on the
project’s complexity, and whether I can move other work around or just have to
stay up extra hours and push through.
I do make an exception on
rush fees for script coverage, because industry protocol is often one or two-day
When the Client
Provides the Contract
In some cases, the client
provides the contract, read it over. Negotiate changes. Remember that the first
contract either side offers is the start of the negotiation. So yes, when I
provide a client, often I will hear back on points the client wants to
negotiate. I can decide if I want to change the contract to meet their request,
meet them halfway, or walk away.
A client who offers a
contract needs to expect negotiation on changes. If they won’t budge, decide if
what they demand is worth it to you or walk away. Many magazines won’t negotiate
their contracts for freelance writers, so again, you have to make the decision
if having the byline in that particular publication is worth any aggravation caused
by the contract.
What About Job
As we’ve discussed over
the past weeks and months, the pandemic is changing the way we work, which can
be an improvement. We, as the people actually doing the work, have to make sure
that we help shape new work styles.
I’ve seen an array of
articles in publications such as THE WALL STREET JOURNAL, BLOOMBERG, and FORBES
pushing the negative aspects of remote work. Remember, these businesses are
trying to protect their standard way of working, and how they see their bottom
line affected. Far too many companies have useless middle managers who try to
micro-manage and terrorize their “teams”.
There’s plenty of work
that does not need to be done in someone else’s office with the countless
interruptions and managers “checking up” on you every five minutes. I know I am
far more productive in my home office. I need large blocks of uninterrupted
time to be my most creative. I have set up my office to support the peak of my
There’s not a cubicle on
the planet that could provide conditions even close.
If you are looking for a job
as a salaried employee, you still have the right to negotiate. For decades,
companies have pushed the toxic narrative that they get to decide everything
and employees have no say in it.
Remember: companies need
employees to do the work. Otherwise, their useless middle managers, or maybe
even some executives, would have to do the work their damn selves.
They push the “if you don’t
take this, we’ll hire someone else.”
Don’t be afraid of AI,
either. That’s another narrative they push – that soon, jobs will be replaced
There are plenty of jobs
that could and should be replaced by AI, especially repetitive ones. That frees
creative human beings to learn new skills, to find their passions, and to do
and create work that no robot could ever come up with.
With all the wonderful resources such as Coursera and FutureLearn and other online learning opportunities, people can try out different arenas and find their passions.
Yes, you might have to
accept a drudge job in the interim to pay the rent and bills. But make sure it’s
When I made the commitment
to a life in the theatre, I took temp office jobs as a way to keep a roof over
my head between shows. But I stuck to my commitment that, if a corporate job
got in the way of a paid theatre job, I ALWAYS quit the corporate job. Even
knowing the theatre job was transient. That made it possible for me to work my
way up to a career on Broadway.
If I’d stayed in a
corporate job out of fear, I would have always been a “wanna be.”
Instead, I DID.
So, when you are in
negotiations for a job, make a complete job description part of it.
You can choose not to
answer ads that include language indicated scope creep. Or, early in the interview
process, you can ask for more definition.
The other thing you can do
is ask for a contract, rather than being an at-will employee.
There was an article on
line (I’m not sure if it was BLOOMBERG, I think it was, or FORBES) touting
hiring freelancers as the wave of the future, because then companies don’t have
to pay for office space, health insurance, or benefits and can save money.
What they neglect to explore in the article is that savvy freelancers, with the level of skill many of these companies are looking for, will charge enough to cover those expenses.
And savvy freelancers work
on contract, which means they’re not “at will” and can’t be just let go any old
time the company feels like it. There’s usually a clause in the contract about
how to end the work relationship if it doesn’t work out.
If there’s room for scope
creep in the job description – negotiate it.
If the job description says
you have to have certain computer hardware or software or phone or any other
equipment – either the company pays for it/provides it and it is exclusive to
the work you do for that company, or the company provides you a kit fee that
covers the wear and tear on your own equipment.
If the job description
demands that you have “reliable transportation” or a driver’s license – sweetly
ask what kind of car they provide.
Negotiations aren’t just
We will talk about that in
a future post.
How do you control scope
creep? What points do your contracts over?
As I’ve mentioned in
previous posts, because so many people are out of work and worried, the predators
are out: expecting unpaid labor/samples/”assessments” as part of the hiring
process, content mills re-branding themselves as “agencies” pretending to offer
good work opportunities when they’ll just grind you to a pulp and destroy talent;
writing jobs on “commission.”
But another disturbing
trend I see in a lot of listings is this:
There is no such thing as a “full-time freelance” job for a single company. If you’re working full-time for a single company, you are an employee for that company. Especially if they dictate the hours worked. Perhaps you choose to be an independent contractor on a 1099. But you SHOULD be on a W-2 at that point, and getting full benefits.
The only reason a company “offers”
a “full-time freelance” position is to get out of paying benefits, sick days,
holidays, etc. They are taking advantage of the non-employee to save money, yet
expect the same behavior and hours and deference they would from a salaried
There’s nothing wrong in
working for a single company. But if you’re going to be working employee hours,
you need to have benefits. Again, especially if they dictate which hours in the
day they expect you to be working and available.
Or, if, for some reason, it suits you to remain on 1099, make sure YOU set the rate and it is what it would be to be on staff with the cost of benefits plus 20%. If they’re not going to give you benefits, make sure they pay enough to cover putting aside benefits and a little extra. You can find out what employees make through sites like Glassdoor and Salary.com. Or come in as a consultant, which bills at a higher-than-staff-person rate.
A full-time FREELANCER is an individual who works a full week (be it 40 hours or whatever that individual chooses to make the amount of money necessary) for a variety of different companies. There may be some overlap, especially across time zones, to communicate during mutually-acceptable hours. But the full-time freelancer arranges the hours and schedules in a way that best serves both the work and the life.
A full-time Freelancer
chooses the clients with whom they do business, sets rates, works the hours
that are best suited to the individual task and the energy needs.
In the best situations,
the full-time Freelancer charges enough not to just cover rent, food,
utilities, health insurance, car, home office equipment and supplies, etc., but
also for retirement, vacation fund, and a little extra.
The full-time Freelancer
is constantly in marketing mode, sending out LOIs, broadening networks, and
keeping an eye out for new clients who might be a good fit – or recommending
fellow freelancers to jobs that might be a better fit. That time needs to be
built into the work week, without a loss of income.
Since most work in the US
is “at will” and can end at any time, both types of work run the risk of loss
of income at a moment’s notice. But the unsalaried freelancer working full-time
hours will have to scramble, while the full-time freelancer has other clients paying
in while replacing the recently lost client. Freelancing work tends to run on
short-term contracts, which gives at least a little stability, but those
contracts end, and not all are renewed. Other work can be one-off work, and the
full-time freelancer has to ride the feast-or-famine cycle.
Even if working for a
single company as a freelancer, that freelancer needs to always be aware of
what’s out there, and ready to leap to a better situation.
Working full-time for a
single company without benefits is good for the company, but rarely good for
the freelancer, unless the freelancer gets a high enough to cover independently
Working as a full-time
freelancer can be stressful – the constant client hunt – but it also gives more
variety, flexibility in case of management turnovers and sourings, and expansive
But if someone offers you
a “full-time freelance” position – look at the details very carefully.
Negotiate up to make sure you are getting as much as any staff member receiving
a salary and benefits, set your own hours, and are free to take on other work
as you wish.
Remember: every job offer
is the starting point of negotiations. If they offer you their endpoint, they
are not worth your time.
Far too many businesses
are trying to gain for themselves by making us feel terrible – all this “free
time” we have now, and all the things we “should” be doing because we can’t be
out and about the way we used to gambol.
They’re also counting on us
being so desperate to earn a living that we’ll take even less than we earned
before the pandemic. “You’ll get nothing and like it” is their refrain.
If the pandemic has taught
us anything, it’s how poorly most companies treated their employees in the first
Remember, without people
to actually do the work, the company cannot exist.
If they hire people that
do the work badly (which, if they don’t pay properly, that’s all they will get
in the long run), they will go under.
Instead of listening to
statistics by businesses for businesses, let’s look at personal realities, and
use those realities to reshape how we are going to navigate both our work world
and our social world.
Not everyone likes to work
remotely. Not every job CAN be done remotely.
As an introvert, I realized how often I was forced to behave like an extrovert in a typical work setting, and what a toll that took on my health and my productivity. It didn’t matter if I turned in three times the work ahead of schedule – if I wasn’t in the building so the managers could interrupt me, ruin my productivity, and repeatedly put me in situations that caused stress and discomfort, it wasn’t “real work” and I wasn’t being a “team player.”
During the pandemic, the
stress wasn’t from working remotely. It was that every foray off the property held
the literal prospect of death to me or someone in my family. And, as time went
on, it was the external pressures from those who wanted, again, to lower my
productivity and add discomfort to feel powerful and force me to be “part of
I am perfectly capable of being “part of the team” without setting foot in the office. There’s this thing called Zoom (which we’re all tired of at this point). There’s email. There are scheduled phone calls (I only do phone calls by appointment). As long as I collaborate and hit the deadlines with quality work, I shouldn’t have to be forced, repeatedly, into onsite situations that cause misery in order to make someone else feel powerful.
I realized how many unhealthy compromises I’d made since I moved here. Far more unhealthy compromises than I’d ever made in the decades I worked in theatre and film production.
In the weeks leading to
the Stay-at-Home, I was even talking with potential clients who insisted that I
work onsite – even though I knew it would make me miserable.
So the past few months
have made me redefine both what I want and what I need from work, and I
encourage you to do the same.
I went into the arts because of the passion I have for the work. I loved my time working backstage and on set. Now, I love my time writing. I don’t consider the fiction and plays the “real writing” and the marketing/business/consulting a “day job.”
As far as I’m concerned,
they are all of a piece.
Make a list of what you NEED from you work.
—Enough money so I’m not scrambling from payment to payment and don’t have to worry about basics like rent, food, utilities, health insurance, car, emergency vet bills, etc. It also must be reliably paid, not put off with excuses. Pay me per our contract.
—A sense of purpose and passion from those with whom I work. This can be small business owners who love what they do; or larger companies with a bigger mission. But there needs to be more to it than bottom line profit.
—Alignment with my values. I am not going to work for people/organizations/businesses I believe cause harm/fuel hatred, bigotry, racism, and misogyny. Even though those businesses usually pay more than those in alignment with my values as a person.
—Creativity. My job needs to let me use the creative part of my psyche, maybe in ways I didn’t expect to use it.
—Autonomy. Too often what is called “follow up” is actually “nagging.” If we’ve set a deadline, you will get what you need by that deadline. Suddenly asking for it a week early and bugging me about it doesn’t get it to you faster. If the deadline has changed for some reason, tell me it has changed and why it’s changed and we will deal with it. But don’t nag. Communicate clearly. And don’t micromanage every moment of my day.
—Humor. I love to laugh, and a sense of humor is important, especially on tight deadlines when there’s a lot at stake.
—Clear Communication. Don’t come at me with passive aggressive behavior. You want or need something? Be clear about it. Don’t lie to me, especially not by omission.
—Respect for my boundaries. “No” is a complete sentence. I do not have to embellish. If an emergency comes up, I will take on additional work outside my regular scope or outside my regular workweek; but it needs to be requested with respect and not become expected. I have a life that is separate from my work and just as important.
—Room for growth. I want to learn and grow both personally and professionally. I don’t want to be pushed into additional tasks because the company is too cheap to hire enough qualified personnel. I want to grow within my own scope of duties. I want encouragement to share ideas and have opportunities.
—Fully Remote. At this point in the game, that is what I want in the foreseeable future. It was a “want” before; now it is a need.
If any of the above list is
missing, I am miserable, and know I need to change my work situation.
What do I WANT?
That’s a little different.
The wants are what make the job special and exciting.
—Paid holidays and vacations. Which means, when I’m working freelance, the money and the ability to book that time without pushback.
—Variety. I like to write across different topics and in different areas – blog posts or articles or social media posts or courses or press releases or strategic plans. Anything that is scripted, be it for a video, a speech, or radio/podcast, and I’m in heaven.
—Positive Colleagues. An overall positive work atmosphere, even if it’s via Zoom or email, matters. We all have tough days, or even tough stretches. But if one particular person is ALWAYS unhappy, it starts to create a ripple effect of stress.
—An environment where everyone is encouraged to use their strengths and improve their weaknesses, rather than being thrown into something that’s a weakness without support or training.
—Encouragement to connect beyond the work, and get to know my colleagues as human beings. What do we all like to do when we’re not working? What are our other passions and causes? How can we work together to build a better world?
—Recognize and value the work. Recognize and value the work of everyone in the organization. It’s not about a fancier title. It’s about daily treatment and being paid fairly.
—Encouragement for learning opportunities and creative opportunities, even if they don’t immediately benefit the client.
—No more “at will” work. Most of my clients and I are on specific contracts, which is great. I do have a couple of clients that have me on retainer, but it’s “at will” and I need to change those parameters.
I’m sure I could make a
more comprehensive list – and I’m working on it. But as I restructure my work
life during the ongoing pandemic and figure out how I want it to look post-pandemic,
these are all elements that matter to me.
As this list evolves, I
will take steps to bring anything out of alignment into alignment. Then, I will
grow, change, and respond to the world, and will adjust more. Which is a good
What are your needs in a
work situation? And wants?
There are too many
stresses in our daily lives right now: the fact that leaving the house can kill
us, bosses who don’t believe we are actually working unless they can stare at
us; job loss, which too often means the loss of health insurance, unemployment
benefits running out, a government who would rather see us die en masse for
their personal profit than give us tools to live with basic human dignity, and
We are exhausted.
And yet, this is the time,
as everything falls apart is when we have to carve out the time, in spite of
the stress, to reinvent and rebuild the society we want.
Part of that is to
Life in the Arts
I spent decades working
professionally in theatre, film, and television production. Yes, until I started working off Broadway full
time, and then on Broadway full time, I often took stopgap jobs in offices and
temp jobs along the way.
People who claim they want
a career in the arts but feel stuck in their day jobs constantly ask me how I
could earn enough to live on in the arts.
Because I was ruthless in
the knowledge and practice that any day job was just that – temporary. Its only
purpose was to make it possible for me to work in the arts. If and when it
interfered with a paying theatre job, it was the day job that was chucked. I
NEVER turned down a paid (emphasis on “paid”) job in the arts because it meant
quitting a day job.
Even knowing that theatre
and film jobs are temporary and transitory.
“But I have
responsibilities!” People whine.
You think I don’t? I have
been earning my way since I was a teenager. At a certain point, I became the
breadwinner and caretaker of other members of my family. Sometimes I have been
that for my family of choice as well. I have responsibilities.
But I was committed to my
career choice, and every work decision was made around building that career,
not conforming to other people’s definition of “real work.” Believe me, my
entire life, I’ve heard “when are you going to get a REAL job?” This is from
people who couldn’t last a single day if they had to work a full Broadway
production schedule or an 18-hour day on a film set.
I knew what I wanted from
my career, and I did it.
Too often, people claim
they want a career in the arts. But it’s easy to fall into a corporate job with
a regular salary. If you CHOOSE that route, it’s perfectly valid. But own the
choice. Don’t pretend the corporate job and your “responsibilities” prevent you
from doing the work you claim you want to do. The only thing standing in your
way is you.
The other important
element is to dump unsupportive partners. Because I am driven and organized,
too many men tried to get me to give up my dream and focus that energy and
drive on theirs. Not one of them were worth it, and getting every single one of
them out of my life was the right choice. I’ve had some great men in my life,
but I knew even the good ones couldn’t sustain the lifelong journey. The ones
who tried to sabotage me were kicked to the curb pretty damn fast.
If my career choice had
been in the stock market or in finance or medicine or law, no one would have
ever questioned the dedication or the long hours. But, because it’s in the
arts, everybody’s a critic.
I consider myself still
working in the arts, even with the business and marketing writing I do. I work
hard to balance the writing other people pay me to do with the novels, plays,
and radio plays I write.
That doesn’t mean I
consider business writing a “day job” and fiction/scripting my “real” writing. They
are both creative. I love working with businesses who are passionate about what
they do, and communicating that passion in a way that enchants, engages, and
expands their audience. It’s my real work as much as writing a novel or a play
is real work. It’s a facet of my career.
Since we’re still in the
middle of a worsening pandemic, thanks to the lack of leadership and inhumanity
at the Federal level, we don’t know the full extent of the aftershocks or how long
Artists are finding new
ways to create, engage, and entertain an audience. Production skills will also
evolve. The need for art is growing, not ceasing, and I believe that theatre,
film, music, dance, visual arts – all of these will grow and find new ways to
connect with audiences.
Businesses need good
writers more than ever. One of the analytics companies (I can’t find the link,
apologies) figures that businesses that didn’t communicate with their audience
during the pandemic lost up to 78% of that audience.
communicate poorly with their audiences are also taking a hit. Life is
different now. Tossing out over-used catchphrases that wore out their welcome
back in March, or pretending it’s all over and everything is back to the way it
was hurts your audience. I know, as a consumer, reading some of the ridiculous
marketing schemes cause me physical pain. I turn away.
I am not likely to turn
Businesses that allow
customers inside without a mask, or to slide the mask down once inside? I walk
out. I don’t spend money there. Nor will I come back once there’s a vaccine,
and we are safely able to resume a semblance of former activities.
They have lost my business
One of the significant truths
the shutdowns and stay-at-home orders revealed is that few office jobs need to
be done in corporate space.
The day is often
structured differently, especially if childcare and children’s online learning
are involved. But the work can be done remotely.
Those of us who’ve worked
remotely for a company and/or as freelancers already knew that. We’ve had to
fight to because corporations find it useful to promote the toxic myth that it’s
not “real work” unless it’s in THEIR space where they can monitor you.
It’s time not to return to
that model. Where constant interruptions, unnecessary meetings to give a
bombastic executive an audience, and a workday structured for least
productivity but maximum low morale are considered “normal.”
We were groomed – and I
use that triggering word deliberately – by corporations to believe that this
type of work day and work environment was the only “real work.”
We’ve learned differently.
Yes, certain jobs need to
be done on site. But plenty of office jobs can be done virtually. If some
workers prefer the community office environment, they should have that option,
once it’s safe. But for those who are more productive, as long as they hit
their deadlines and deliver, the option to work remotely should be permanent.
Tools for Positive
UBI. Universal Basic Income gives everyone a chance for basic human dignity. Especially during the pandemic, it allows people to pay the bills, keep a roof over their head, food on the table, and, most importantly, to stay home. It allows them to put money back into the economy for all of the above, and maybe even support some small businesses and artisans. That slows the spread of the infection, gives the medical community time to come up with vaccines and treatments, and save lives. If people aren’t putting their lives at risk daily, forced to go back into unsafe environments, but are allowed dignity, many of them will be able to create, invent, and come up with ideas that will positively transform their lives and our world that we can’t even yet imagine.
Health insurance not
connected to jobs. Too many people
are forced to stay in negative work situations because they are afraid of
losing their health insurance. Then we hit a depression, like the one we’re in
now, and they lost the job and the health insurance anyway. This needs to stop.
Health insurance needs to be connected to the individual, and travel with the
person from job to job. Part of that restructuring includes changing insurance from
profit to non-profit companies, and removing stock options.
Benefits not tied to
the job. EVERY job, even part-time
and 1099 jobs, should have to toss a few dollars ON TOP OF (not deducted from)
every paycheck into a pot tied to the individual for unemployment, paid time
off, and retirement. IN ADDITION to money tossed into the insurance pot.
everywhere. Remote workers contribute
to their local economies. They buy food, pay taxes, hopefully shop locally when
they can, participate in their communities. It’s vital to keep people connected
with affordable technology in the most rural areas. And people need options. No
single corporation can be allowed to monopolize any utility.
The next generation
doesn’t owe it to us to suffer. I am
so sick and tired of hearing “well, I had to work hard, and no one wants to
work anymore.” People do want to work hard, but they also want to work
differently. We should be making it
better for the next generation, and then they make it better for the following
generation and so forth and so on. The
previous generation broke barriers. Instead of regressing (like we’ve done the
past years), it’s time for us to break barriers.
Fair pay for a day’s
work. And benefits. UBI doesn’t negate the need for fair pay. If
you aren’t willing to pay a living wage, and throw benefits into a pot for the
individual, you don’t get to have employees. Do the damn work yourself. And let’s
stop this only paying a 35-hour week or a 37.5-hour week. Or working 8-5
instead of 9-5 if someone wants to eat. You want me to work for you all damn
day? You can damn well pay me for a LUNCH HOUR.
Affordable housing. What developers present as “affordable” housing isn’t.
The formula for affordable housing needs
to be 30% of a month of 40-hour weeks at the minimum wage for that state. THAT
is affordable. No one should have to work multiple jobs in order to pay rent,
and rent should not be 80% of a person’s income (which it too often is).
How Do We Get There?
Millions of us are out of
work right now, and worried. Perhaps even desperate. Corporations are counting
on that. They got millions of dollars in SBA loans, have bought back stocks,
paid bonuses to top execs, and laid off the people who do the actual work. Now,
they want to hire people back at lower rates without benefits because “the economy.”
If you have to take
anything that comes along, then do what you need to do.
But take Liz Ryan’s advice over on The Human Workplace, and always be looking for another job. Consider it a temp job. Keep looking, pitching, sending out resumes and LOIs, talking to people, expanding your network.
As soon as you get a
better opportunity, take it. Companies stopped being loyal to their employees
decades ago. They blame the employees, saying they jump to a different job
after two years and “don’t want to work.” Hmm, maybe if companies paid decent
wages, benefits, funded pension plans (which are EARNED benefits as much as
Social Security is an EARNED benefit)
and treated their employees with decency and dignity, their employees would
Don’t believe corporate
spin. Take what you need to survive. Jump when something better comes along.
Misplaced loyalty will destroy you every time.
Take Stock. Then Take
In and amongst the worry
(and we’re all worried, on so many fronts right now), take stock of the career
you’ve had and the career you want. Where are they aligned? Where are they
apart? Where are they in conflict?
Start taking small actions
every day to move towards the career you want. Fifteen minutes a day working
towards both the kind of work you want to do and the environment in which you
want to do it.
Work with your elected
officials on town, state, and Federal
levels. Let them know what you want out of your society. HELP them get there.
It’s not just about donating money. It’s about regular communication so they
can represent you, and it’s about ideas. Write proposals, with detailed action
That helps them, and hones
skills you can use in a variety of jobs.
Read bills coming up for a vote, and let your elected officials
know how you feel about them. They can’t represent you if you don’t
You can read Federal bills coming up for a vote here..
Your state and town will have
information on their websites. It doesn’t take that much time to keep up on these
bills, and it pays off in every aspect of your life, because it affects every
aspect of your life.
Vote. In EVERY election.
Say No. Speak up at work. Speak up in interviews. Companies
are counting on us to be terrified and desperate. If enough of us say no, they
have to change the way they treat workers, or go out of business. Find people
with similar work and life sensibilities, and become entrepreneurs. Terrifying,
right? But also fulfilling. You can do better work on your own and be a better
boss than those who mistreated you.
Yes, it’s terrifying and
overwhelming at times. Start slowly. Rest when you need to. But remember that
you owe your best energy and creativity to making YOUR life a work of art, not
creating something for others to profit from in perpetuity.
How are you reinventing
work from what you’ve learned during the pandemic?
Back in the days when I was starting out in the working world, before I worked my way up in theatre to a level where I was paid a living wage so I didn’t have to work temp jobs around show schedules (and then later supplement my income at the rack track), I had a specific attitude toward interviews. I interview them as much as they interview me.
Not much has changed over the years.
What is my purpose, my end game, when I meet potential clients? Why am I pitching myself to them?
My purpose is to be paid a fair fee for using my creative skills to engage and enlarge their audience. The “fair fee” is comprised of my skill, the unusual training and experience I bring to the table, what the work is worth in the competitive marketplace, and how well it achieves my clients’ goals of expanding their business and brand recognition.
I pitch myself to particular clients because what they do interests me, and I believe I’d be a good addition to their team so that they can achieve their goals of business expansion and brand recognition.
Work styles and workplace culture are important to this. If I’m working on site, there are certain things I need: dedicated workspace, the equipment to do the work expected, and uninterrupted work time. I want the environment to be upbeat, friendly, and creative. Preferably with a lot of laughter.
If I’m working remotely, again, I don’t want to be interrupted every two seconds by phone calls or demands. Let me do my work. I’m far more productive and, in the long run, it costs the client less money.
I think I mentioned on this blog (or maybe it was on Ink in My Coffee), the interview I had with a local business a couple of years ago where none of the above was true. It was supposed to be a marketing/writing position. Only my “desk” would be a board set up across two oil drums and a stool. They’d “prefer” I brought in my own laptop, but that it be one that was “dedicated” to their business. (I’m supposed to purchase multiple lap tops for different clients? I think not). I would have to cover reception at least a couple of times a week during lunch. I also had to accept that there would be inappropriate remarks or physical contact because “that’s who these guys are.” For a rate that was less than half of my usual rate, part-time, no benefits or paid holidays or vacation or anything else.
I thanked them for their time and left.
I spend more time in the early conversations asking about a typical day, the environment, etc. than I used to. I spend at least as much time on that as I do on the actual tasks.
I’m not twenty, on my first job. I know I’m up to the tasks, or I wouldn’t have pitched in the first place.
I also ask where they see the company in the next year, the next three years, the next five years. What are their goals? How do they see the company growing? Do they see a shift in focus? Where do they see themselves in the political, economic, and social contexts? What do they see as their place in the world?
These are not questions for anyone in the Human Resources Department. In the decades since I’ve started my professional working life, I have yet to get any accurate information on anything other than a pay stub from someone assigned to “human resources.” These are questions I ask to the people with whom I’d be directly working.
Very often, I build on my answers to their questions to ask my own questions. This means we cover a lot of ground that is often left in their last question, which is to ask if I have any questions. I usually have one or two, but often I can say, “We’ve covered them in our previous conversation.” That shows that yes, I HAD questions, but we’ve talked about them, and there’s no point in repeating ourselves.
After the interview process (because it’s usually more than one talk), I send handwritten thank you notes. I used to do it after each conversation, but that got too complicated, especially if multiple conversations are set up over a short period of time. The more companies expand globally, the more people in different regions are factored into the equation.
I take notes during the conversation, to make sure nothing is missed — or later changed. I’ve had that, too, especially in terms of money. “That’s not what we talked about.” Actually, yes, it is, and I have the notes to prove it. I date the notes. Sometimes I’ll type them up, but I always, ALWAYS keep handwritten notes during a conversation, dated and timed.
When the conversation leads into a quote or letter or agreement or contract as the next step, I type a letter/memo based on the notes and the conversation to make sure we all agree. So we are, literally, on the same page.
And then we build from there, with the actual work.
How do you handle initial meetings and/or interviews? What are some of your favorite questions to ask? What are questions you’re asked that make you roll your eyes?
I was honored to teach at the NECRWA Let Your Imagination Take Flight Conference over the last weekend of April.
I’m in the process of follow up from the conference. I usually try to get it done in the first two business days after I return. I was so wiped out from the month of April that I crashed and burned last week, and I’m still working on my usual post-conference protocols.
I’ve written about this before, last year, in the Authors Publish newsletter. I haven’t referred to that copy for this post — I’m simply sharing what I do. Returning from a conference can be overwhelming, when you unpack and look at all you’ve brought back.
Thank the Conference Organizers I believe this is the most important piece of follow-up. It takes an enormous amount of time, energy, and emotional stamina as well as physical stamina to put on a conference. The organizers deserve a little thanks.
I thanked them in person on the final night, and I’ve thanked them across several social media platforms.
I’m behind in the written thank you, but that went out at the beginning of the week.
All of that matters.
Send out Promised Materials Did you meet with any agents or editors? Did they ask for something specific? Get it out, as soon as possible. Some of them will ask you to wait a week or two after the conference, because they have a lot to catch up on. Make a note on your calendar, and send it when requested.
Make sure to send the materials while it’s still fresh for them.
This is also true if it was a trade show style conference and you spoke with vendors about possible freelance jobs.
If you talked to agents, editors, or publishers who didn’t ask for anything specific, just send them a quick note or email saying you enjoyed the conversation. Not every interaction has to be an immediate submission. There are plenty of agents and editors I love talking to at conferences. But I don’t write what they represent or publish, so I don’t submit or query what they don’t want. I do, however, keep in touch. If I ever do write something in their wheelhouse, I’ve laid the basis for a relationship.
If you met a potential critique partner and talked about exchanging manuscripts, or a fellow writer, where you did a book exchange, send the materials or say thanks. If it was a book exchange in the moment, make the time to sit down and read the book within the next two weeks. Tossing it on the TBR pile and not getting to it for a year isn’t helpful. Be the partner that you seek.
Thank presenters Did you attend presentations you particularly enjoyed? Most presenters include their website or social media information in their presentation or handouts. Send them a quick e-mail and thank them on social media.
Even if we intellectually know our presentations went well, it’s a big emotional boost when a participant takes the time to say “thank you.”
Follow up with fellow conference goers I collect cards, flyers, bookmarks, postcards from everyone. If we’ve had a conversation, I follow up as soon as possible, either to say I enjoyed the conversation, or to continue it.
Sort the Swag In addition to picking up material from those I meet, I also accumulate plenty of material from those I didn’t.
When I get home, I sort it.
Agents, Editors, Publishers go in one pile. This is AFTER I follow up with promised materials, as stated above.
Authors I met go in another pile.
Authors I didn’t meet, but picked up material go in a third pile.
I follow up with authors I met first. That includes buying at least one of their books, if I didn’t do so at the conference. And reading that book in a timely manner. And then, LET THEM KNOW YOU READ IT — especially if you liked it. Leaving a review is also helpful.
I research the agents, editors, and publishers, especially if I didn’t get a chance to meet or cross paths with them at the conference. Do I have anything I think will suit? Does what I have meet their guidelines? Are they open for queries?
There have been times when I’ve been signed with an agent, and I run into an editor or publisher at a conference with whom I click. I then discuss it with my agent, and together we decide if there’s anything to query, or if we save it for another time.
If I have good conversations with an agent or agents while l’m under representation, I let them know. I don’t want my agent to feel I’m doing anything behind their back; I don’t want the agent I talk with to think I’m behaving that way either.
I go through the pile of authors I didn’t meet last, and check out their books and websites. Conferences are one of my favorite ways to find new-to-me authors.
File Information I have files of conference programs, handouts, and promotional materials. I often remember a particular author or business by which conference I “discovered” them, so that’s how I file. I file the information AFTER I’ve done all of the above, because if I put away a file, my subconscious believes I’ve finished the project. I need unfinished files in front of me.
I keep files for far too long. Basically, I have an Archive. But that’s my choice. Do what suits you.
Normally, I’d have my initial contacts done early in the first week I was back, and be working my way through the Authors-I-Didn’t-Meet pile. But I’m behind, so I’m still working on thanking presenters and following up with other authors I met.
If the above sounds like a lot of work — hey, it is! But it pays off in connections and building friendships and finding great new reading material.
Today is the Spring Equinox. That means that the daylight and the dark are in balance, and that, as of tomorrow, we continue to gain daylight and there’s more daylight than dark until the Summer Solstice in June.
Contrary to what “they” tell us, the Summer Solstice is NOT the start of summer. It’s Midsummer.
That’s a post for a different day.
The Equinox got me thinking about balance. At first, I was just going to toss up a post telling everyone to take a break.
But it’s more than about just a quick break. It’s about the daily shifts we have to do in order to balance our health, creativity, life, work, and financial needs.
Every day, we make dozens of adjustments from what we feel we’re obligated to do against what we want to do against what we thought we’d do against what we can actually get done.
Instead of fighting the adjustments, try to celebrate them whenever possible.
Be active, not reactive.
A rather overused phrase, but important. Let how you structure your day be a series of choices as much as you can, rather than a series of reactions.