Freelance Unbound

What went wrong with last week’s election?
In media terms, clearly, it was a lack of narrative.
How could the media make sense of the voting patterns in 2010? Massive swings to the Tories in unexpected seats, solid swings away from Labour in others. But swinging to where? Sometimes to Tory, sometimes to Labour, sometimes to LibDem, once to Green. Often to nowhere in particular. And what about the postcode lottery that decided whether LibDems would keep or lose their seats.
It must have been frustrating for the political hacks – which perhaps explains Jeremy Paxman’s Cheeky Girls jibe to just-defeated Lembit Opik. Why else would a senior media commentator talk about the effect of a politician’s colourful, but hardly scandalous, private life on his vote, unless there was nothing to make sense of in political terms?
Things used to be so different.
The stand-out elections of the past three decades have had a story that the media could easily tell. The Thatcher victory in 1979 was all about a rejection of the kind of corporate statist consensus that had turned the 1970s into, well, the 1970s – strikes, economic stagnation, bad fashion and faulty cars.
1983 was a landslide khaki election that saw vast swathes of the UK’s political map turn blue – as well as the arrival of a third force (actually a fourth force) in the form of the SDP that promised, but never succeeded, to break the mould of British politics. Viewers (including me) watched, enthralled or horrified according to taste, as Labour big beasts were felled one after another – Tony Benn, Shirley Williams, er, William Rodgers – and Thatcherism dominated the ’80s political landscape.
The 1987 election was a bit boring, but 1992 was a knife-edge contest with elements of Greek tragedy as an over-confident Labour was brought low by hubris and an ill-judged party rally that looked too much like a victory celebration for its own good.
Five more years of mess, sleaze and Euroscepticism finished that. And paved the way for the New Labour story. A massive, sweeping victory that saw Tory Big Beasts brought low one after another. The Stephen Twigg moment, replayed time and again on TV; colour-coded computer graphics showing the massive swing from Tory to Labour in easy-to-digest form; the dawning of a new era in British politics.
And don’t forget the 1989 European Elections. The first contest in which Margaret Thatcher actually lost the nation’s support also featured the surprise rise of the Green Party. Seat after seat was shown with an animated graphic of the Green vote shooting up from nothing to 10%, 15% or 20% , eclipsing the newly formed Liberal Democrats and promising (falsely) to break the mould of third-party politics.
But things have been going wrong for a while in media elections. 2001 more or less saw a replay of 1997 with a bit less enthusiasm, but 2005 was a muddle. Fewer people were keen on Labour, especially after Iraq, but not so many were keen on the Tories, who didn’t really seem to know who they were, except they weren’t Labour.
The media did have some success showing what was going on, though. A very good digital three-way swingometer on the BBC showed that LibDem support was moving rather than growing – shifting into Labour marginals but moving out of Conservative ones. And I liked this boardgame-style drinking game from the Guardian that aimed to help election revellers keep track of the results – a sort of boozeometer.
It was an interesting harbinger of the election to come, but even the three-way swingometer has failed us this time around. If 2010 told us one thing, it was that simple narrative struggle of many elections in recent history has broken down.
I foolishly wrote that whoever you vote for, government wins. Not, it seems, in this case. The voting public has not only stuck two fingers up at politicians (here’s your result – now what are you going to do about it, you corrupt losers?), but also in some ways to the media.
Though the current shenanigans are a media wet-dream (Clegg’s talking to Cameron! Brown has resigned! Clegg’s talking to Brown! Which seats could the LibDems get in cabinet? What about a Rainbow Coalition?), it’s become clear that telling the story of the election – and hence telling the story of the people who vote in it – is much less simple than it used to be.

The latest argument for a “Progressive Rainbow Coalition Government” in the UK comes from the Scottish Nationalists, who argue that a LibCon arrangement would be resented by the 83% of people who didn’t vote Conservative in Scotland.
I’m sure the 100% of people who didn’t vote SNP in England will welcome a government that includes the Scottish Nationalists…

I usually love elections, but, despite the fact that this is the most unpredictable, closest-run contest I’ve known, I just can’t seem to get worked up about this one.
I’ve always enjoyed them. Appropriately enough, the first election I was really aware of was in 1974 – the last time that we had a minority government in the UK.
It was the year I went with my dad to the polling booth to watch as he put his cross on the ballot paper (Liberal, coincidentally, before it was achingly fashionable again), and walk out with the sense of having fulfilled part of your civic duty. But then he had fought in the War, so it probably did mean more then.
For whatever reason, I’ve always voted since (though almost always for the losing candidate. I think I may have voted for a winner in a by-election once when I was at university, but I can’t be sure.)
In a way, that makes it easier. If you always vote for the loser, you can’t really take the blame for the mess the winner makes of the job. Which they always seem to do, in the end.
But this year is a real dog’s dinner. I think the reason I just can’t seem to get worked up about it is that whoever gets in we’ll all end up paying through the nose for a decade or more for the mess that the government and the banks have got us into.
More to the point, no one is coming clean about it. They seem to think, probably rightly, that no one wants to hear how tough things are going to get. And if we’re told, we’ll punish the messenger by not electing them.
It’s a ridiculous situation. I’d rather be treated like an adult and told exactly how grim the economy and the public finances are going to get – not least because it will help me plan for the next few years. Some in the media are making the right noises – but no politician dare come right out and say the “c” word, even when the Institute for Fiscal Studies waves it in everyone’s face and argues cogently that it does the electorate a disservice.
It’ll be interesting how things play out after Thursday. Will we see Greek-style anarchy in the streets? Perpetual grinding recession? Or, bizarrely, another credit- and delusion-fuelled boom?
Whatever happens, as usual I’ll probably stay up far too late on Thursday night to see what happens – and I’ll probably go crazy and Tweet it live or something. Who knows – I may even start to get excited about seeing the result again.
Until I have to actually live with it of course…

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The last in our series of tips for media freelancers is from freelance production editor David Powning, who follows his first rule and goes the extra mile to give us half a dozen pieces of excellent – if hardcore – freelance advice.

1. Go the extra mile
   Don’t start crying if you’re asked to stay a bit late, or work during the lunch hour, especially on press day. It counts for a lot, especially in these times of cutbacks and skeleton staff, and the next time the publication needs a freelancer I guarantee you’ll be near the front of the queue, a long way ahead of the clock watchers. Yes, you have rights, but don’t get all French about it and start waving your Book of Working Conditions in people’s faces. They’re under pressure, they don’t want to hear it – they just want your help. You enjoy the work; get on with it.
2. You’re a lone wolf
   So accept that some people don’t like you. The phrase “f***ing freelancers” is common currency because we’re not part of the gang, and we perhaps don’t have the brand loyalty that full-timers cling to until a better job comes up. So when someone lays into freelancers in your presence, and it’s as if you’re not actually in the room, just keep your head down and imagine them on the toilet.
3. Keeping that head down
   When you’re working somewhere for the first time, don’t go in guns-a-blazing, trying to dazzle them with the force of your exciting personality. Take the time to see how the land lies, and work out the “dynamics” of the office before you start to contribute. This usually helps prevent making verbal gaffes that some sensitive doily will find offensive, and will enable you to fit seamlessly into the team. Working environments all have their own gentle rhythms; don’t barge in banging your own drum. If you do they will start emailing each other behind your back, and you will never see them again.
4. Don’t ever be late
   Unless it’s one of your regular gigs and genuine tragedy has befallen you. It’s a curious thing, but when full-timers are a bit late getting to the office and trawl out their excuses about the transport system, despite the fact that they reek of booze and are partially blind, everyone shrugs or makes light of it. If, however, as a freelancer you make the same mistake, you are a feckless waster who clearly doesn’t appreciate the gilded opportunities that life is affording you. You won’t be able to laugh it off, so unless you’re bleeding heavily and/or missing a limb, get there on time. And even if you are bleeding, still make the effort.
5. Turn work down
   You heard me. Value yourself. If you get the call saying “You’ve been recommended, but we don’t have a very big budget, so the daily rate is below the norm,” politely explain that you’re good at your job (hence the recommendation) and will a) go the extra mile b) keep your head down and c) turn up on time, even if bleeding. Working for cut-rates is pointless – it doesn’t help you or freelancers in general, and you might as well go and do something else if people think they can get you on the cheap. Let them work their way through all those freelancers who will work for peanuts, and see what kind of standard they get. Then later you’ll receive another phone call and, hey presto, the daily rate just went back up to where it should have been in the first place.
6. Finally, take pride in what you do – above everything.

Thanks to everyone who has contributed. Any other suggestions and comments are welcome…
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One perennial feature of British elections is the amusing consumer barometer of political affiliation. This year we’ve had the Radio Times variant Dalek cover – in red, yellow or blue – and a potato crisp sampling campaign by Real Crisps, which seems to find that Clegg Crisps are way out in the lead with a pack take-up of 51%.

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In the spirit of digital media then, here’s the Google Swingometer. Who’s ahead in the search engine poll? And will the search trends play out in the real world on polling day?

I suspect not. But I reckon the Dalek cover may be eerily accurate.

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Today’s tips come from long-time freelance sub-editor Loveday Cuming, who recognises the importance of interpersonal skills to freelance success, particularly when it comes to office-based subbing and production shifts.

1. Be proactive with your network
   It’s all very well having a bulging contacts book of potential employers, but if all they do is stay in your diary or Excel spreadsheet you’re losing out. Put some effort into maintaining the contacts you have, as well as finding new ones.
2. Follow up leads
   Don’t sit there waiting for the phone to ring. If you anyone you know has heard of some shifts going on a paper or magazine, always make contact to ask for work. And if anyone tells you they have mentioned your name as a potential freelancer to a chief sub, don’t just hang around for the call – follow up any recommendation by introducing yourself.
3. Be a chameleon
   Others in this series have stressed the need to be friendly and approachable, but crucially match the level and tone of the team. There’s no point in being wacky if the team is very straight. Try to blend in – freelancers need to have something of the chameleon about them.
4. Keep on top of your finances
   Be aware of what’s coming in and going out and always chase up late payments. Be organised about it – use a spreadsheet to track what you’ve invoiced for and when, and when that payment goes overdue.

More suggestions welcome from media freelancers…
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Third in our roster of freelance advisers is freelance writer and editor Stuart Derrick. Like many in the world of business print publishing, he’s found his niche specialisms and their attendant titles disappearing, and his old media skills under threat from the digital revolution.
In response, he’s got some excellent advice for any freelancer under pressure:

1. Treat freelancing as a business, not a lifestyle
   Speak to many new freelancers and you’ll find they emphasise the work life aspects of being a freelancer, and there are many – flexibility to undertake childcare being one. But the fat days are over, and anybody who thinks they can watch daytime movies, hang round in galleries or take too many duvet days is on a route to discovering that they need a real job. You need to work real hours, act professionally when dealing with people (doubly so in some cases as anybody can call themselves a freelancer), and over-deliver these days unfortunately.
2. Be flexible
   Especially these days, and I know this is something this blog always spoken about. You can’t really afford to be too picky about the work you do at the moment. This may change, but  by accepting work you don’t want to do (too boring, low paid) you are potentially making yourself good contacts for when better work comes round. Also, by broadening your horizons you can win more work – and potentially more lucrative work too, eg corporate gigs.
3. On a similar point, be nice
   As a freelancer you are the most dispensible person on the team, and there are plenty of alternative hacks after your work. You don’t need to be obsequious, but belligerence is not a useful trait when you are dealing with people and you risk being remembered (and labelled) as hard work, or lazy, or inaccurate. If somebody queries your copy or wants changes, do them, but make sure you (and they) understand what they really want. The old cliche about being nice to people on your way up applies here too – the editorial assistant making your tea could be the features editor or editor in a couple of years’ time. Will you be remembered as the elder statesman who was snotty with them or didn’t have time to speak to them?
4. Always be on the lookout for the next chance
   Pitch ideas as often as you can. Even if they aren’t taken up (a lot of the time) they will show that you are not sitting on your laurels and waiting for work to come to you. And if they are taken up, you’ll be writing about something that you are interested in.

More to come tomorrow…
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Second in the series of tips for freelancers features writer, editor, trainer and Londoner Martin Cloake. Martin has more than 20 years’ experience in journalism and writes books about Tottenham Hotspur Football Club – the latest being The Pocket Book of Spurs.
Because it’s not hard enough keeping one web site going, Martin’s professional site is at martincloake.com and he blogs at martincloake.wordpress.com.

1. Widen your focus
   Think of the skills you have rather than the jobs you’ve done, and then think of how they can be applied. I spent 20 years subbing magazines. In the two years since I went freelance I have spent less than 5% of my time subbing magazines. I’ve worked in communications, managed brochures, edited a series of books, advised organisations on web communication, designed and taught college courses, been an editorial consultant, built and run training courses and written more than I ever did, and for a wider range of publications. All this has meant I have had more fun working on a greater range of stimulating projects than I had done for years. And been paid better, too. We live in an age of sophisticated communication, and expertise in communicating is a key skill. It’s also worth trying to master a new skill every six months or so.
2. Remember the collective
   – Freelancing can be an isolated experience, but the rates and conditions you accept do have a wider impact. Talk to other freelancers, get an idea of going rates and conditions and tips on how to negotiate. If you’ve applied point 1 you will know you are offering specific expertise rather than casual labour. So value it, and make sure those who employ you do. The more people who accept low rates and poor conditions such as conceding copyright or 90-day payment, the easier it is for rates and conditions to be driven down even more. Even as self-employed individuals, our interests are still collective. And yes, I am an NUJ member and as a freelance that is invaluable.
3. Take a break
   – If your time is yours to organise, make sure you organise your time for you. Of course the work must be done when it is there, and to deadlines which often mean long days. But one advantage of not working set shifts is that you can often do the work when it suits you. I try to make sure I get away from my desk and go running regularly, and it’s very good for the brain as well as the body. If that means working a bit later but enjoying a run in the sun, that’s something I could never do on the 9-5 treadmill. If I want to take the kids to the park or take my wife out to lunch spontaneously, I can. And I’ve never missed a deadline yet. There will be downtime – trust me, there will – and it’s important to use it wisely rather than spend it stressing about where the next work is going to come from. And when I find out how to do this last thing, I will come back with point 4.

Some really useful advice is shaping up in this series. More to come tomorrow – and if any current or former freelancers have any tips to chip in, please do…
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Things are getting a tiny bit easier in the media employment world – more subbing and production shifts are on offer, and some freelance writing is starting to surface.
But we’re hardly out of the woods. So this week I’m going to be running another round of top tips for media and publishing freelancers.
We’ve visited this territory before, in Freelance Unbound’s Four Pillars of Freelance Success, but this time let’s canvass a wider range of input. Here is some excellent advice from some other freelancers – in both production and writing, print and online.
First off, Bristol Editor is a newsroom-trained media blogger with more than 12 years’ experience in newspapers, magazines and the web, who also consults in PR and social media.
He’s also been causing something of a stir in the South West with his one-man campaign against alleged shoddy practices by Kwik-Fit, showing that you don’t have to work for Watchdog to stand up for consumer rights. Here are his tips.

1. Build a diverse pipeline
   Don’t invest everything in 1 client, ensure that you have a range of smaller and larger projects running. If one drops off, although it might be inconvenient short-term, it won’t cause huge financial and professional stress. Protect your sales pipeline.
2. Work on your terms
   Make sure that the projects you work on are on your terms, and not totally dictated by the client. I recently worked with a global brand on a short-term project, and had to keep moving the boundaries back to a comfortable place for myself professionally. If you let yourself be treated like an employee, the project will usually be far more enjoyable, profitable and sustainable.
3. Agree payment schedules before you start
   Before you put any work into a project, ensure that you have agreed (in writing) the payment you’ll receive, how you’ll receive it, and when. I usually get clients to transfer electronically by BACS on a set date each month. No chasing payment, no stress.

More to come. If any freelancers have any tips for survival in these tough times, please feel free to share…
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This one’s aimed at sub-editors again – or whoever overruled the sub who may have objected to this dreadful headline in today’s Metro.

Drug death student took meow meow

Well – that’s clear enough, surely? Some hard-partying student took the narcotic du jour and it killed her. Make it illegal quickly and with little rational debate!
Oh, wait a second – I’ve just read the story. Apparently law student Laura Main took a “cocktail” of alcohol and drugs – including not only that deadly, fashionable and stupidly named meow meow, but also GHB, a narcotic that reacts dangerously with alcohol.
And here’s what the coroner said about the case:

“The relevant drug is GHB and the cause of death was given as the combined effects of GHB and alcohol”

Nothing about booze or GHB in the headline, then, despite the fact that this is exactly what the story is about. Instead we’ve got a misleading and spurious reference to the panic of the week.
This is not only rubbish, it’s dangerous – well done.
[UPDATE: it’s been a busy week, so I’ve only just been able to trawl the web for other versions of this story. And, yes, it’s not just the Metro – though it does seem to be the reactionary wing of the media that has taken this line. The Sun, The London Standard and the Telegraph have all fallen for this – though I love the Telegraph’s house style of “miaow-miaow” for the drug]
[UPDATE 2: And, oddly, it falls to the lumpen proletariat – in the form of user-generated comments – to take the media to task. Because professional journalists are so much better…]