THE DRY SEASON: A Freelancer’s Nightmare

What to do when the CLIENTS DON’T CALL and PANIC TAKES HOLD

---

It’s easy to say don’t panic...but then what?

Back in 2004 or so I had a really rough year. The company I’d been frequently freelancing for eventually had no more work for me and I had no plan. I was in the thralls of working on my first full color graphic novel, an autobiographical book that sent me to some pretty dark places. I was losing sleep and started drinking more regularly. When Christmas rolled around I had nothing to give, no extra money to spend on people so I ended up making cards and tried putting my creativity to work. By all accounts I was too depressed to panic--I just didn’t have the energy.

Somehow, I made it through, a client here, a client there came calling. I had no forward-thinking plan. Looking back on it, it was a rather scary moment, but I was so heads down in my work I thought being busy was better than brooding about my situation.

Part of that approach was and can be true.

Q&A

So, what happens when the clients stop contacting you?

Sometimes we start questioning ourselves: Am I not good enough? Am I not fast enough? Am I too expensive?

In many cases client work can be cyclical. Budgets are allocated per quarter to get things done and to prove out that the money was well spent. I’ve noticed more lately that my work increases in the 1st and 4th quarters of the year for ad agencies. Video game companies are generally trying to hit a Christmas Release schedule so, if you’re working in production, your summers are booked. In Pre-production usually 18 months or more out, it really doesn’t fall under any guiding principle. Though in some cases you’re extra busy at the beginning and ending of a project (especially if they need marketing art, etc.)

Clients are like you; they don’t always have work or money to pay for outside help. They have overhead, a lean staff and they too have to go looking for work. That’s why they tend to hire an accounts manager or some rep that approaches and bids on projects with a variety of companies in their specialized field.

Back in the day many illustrators and designers employed Art Reps and some still do today. There are still a few out there, especially in the children’s book markets but I have heard a few artists mention SHANNON ASSOCIATES. I haven’t worked with them, so I don’t know if they’re good or not.

I used to have an art rep years ago. I was guaranteed $50 and hour while she charged the client $70, making a cool $20 for connecting and managing a few of us. It was great for me for about two years and then she took a full-time job. I got exposure to a lot of clients and did a lot of fun and different type of work. Stuff I would not have had access to if I’d been doing it all on my own. So, it might be the right fit for you if you decide to go that route.

But it’s not always a guarantee that you will be working more.

Why are we likely to panic and what can we do to avoid making bad choices?

I think the number one reason we panic is because of MONEY EXPECTATIONS. We have bills coming at us like a pack of hyenas and we have to make hard choices of how to spend the money we have…and sometimes don’t have. Credit Card, I’m looking right at you!

The first big no-no is our knee-jerk reaction to LOWER OUR PRICES. I heard a friend of mine tell me this and I was disturbed by it. He felt like it was the only choice he had. A year later he said he was always busy but barely making enough to get by. EXACTLY! His prices were too low.

OR he was too slow, and it was costing him. Don’t lower your prices. It usually brings lackluster clients looking for bargains. Then those clients in some cases want to treat you like a manufacturer, promising more work if you keep your rates lower. That’s not how artists and craftsmen should be working if they want to do this for any length of time.

In most cases, price has nothing to do with it. I raise my prices every couple of years. I feel out the market and ask friends what they charge small, mid-level and corporate clients. I tend to charge a little more in some areas while they may charge more in other areas.

The second thing may run a little deeper.
Many artists tend to not have a savings plan or a budget or some way to mitigate a dry spell. They spend the money while they’re hot and suffer when they’re not.

Establishing your baseline cost of living helps. What can you do without and still enjoy life? Subtract the little vampires that nickel and dime your bank account until there’s the bare minimum. I’m not saying to live like a homeless person but more like a monk. Find ways to treat yourself of course but be wise about it.

Here are a few strategies that I’ve put into practice time and again.

Website & Portfolio Upgrade- This is always a great opportunity to reexamine your work and to see if it’s attracting the kind of clients, you desire most. Think of it like when you were starting out dating, how much care you put into your presentation to attract someone to you. It’s not much different. Just don’t be so nervous.

ASK YOURSELF: Am I being the best version of myself? Is my portfolio true to my passion and growing in the right direction that keeps me engaged and challenged?

This is usually the time I take to TRY NEW THINGS and experiment with new approaches or processes. In playing, I discover things and can offer new ideas or approaches clients have yet to see.

Education & Fundamentals- This is a great time to start taking a class and tuning your abilities. It takes your mind off your situation and puts your brain in a constructive problem-solving mode. Education is within your sphere of influence. You can’t make clients come to you, but you can make yourself more viable to them.

Pounding away again at fundamentals is always good and it creates a steady stream of work that you can seed your social media accounts (if you have them) or at least LINKEDIN (which you should have) to show that you’re not sitting idle. By posting there it’s like chumming the waters and waiting for that trophy client to come up and ask if you’re available.

Reminders & Check-Ins- This is a great time to check in with past clients to ask them how they’re doing. I’ve gotten several jobs this way because I was not necessarily on their mind, but a job landed on their desk that they needed help with.

Also, a nice, crafted note reminding them of how much you enjoyed working with them on X, was for you, and that you hoped they’re doing well. Looking forward to working with you again in the future. How ‘bout them Mets? Whatever...

NEVER ASK FOR WORK or INQUIRE (You got any work for me?) Instead, always ask how their business is going, how are they doing, and leave it at that. It’s bad form to ask because it puts you at a disadvantage when negotiations come around. They can now dictate that you need them more than they need you. This gives them an upper hand when it comes to pricing.

Of course, if you have a longstanding relationship with the client and you’re essentially friends, letting them now that your schedule is open if anything comes along that might be a good fit. That’s a better approach. It doesn’t come from a place of desperation. Imagine trying to get a date and coming off just as desperate. How do you think that’s going to go down?

New Clients & Approaches- Reaching out to potential clients in your area or industry is common. Cold calling an agency or studio to ask the ADs name or email from the receptionist or if they’re open to accepting and passing on your portfolio, is a good approach.

Collecting and connecting with ADs and managers on LINKEDIN helps, too. They see your name, they connect, a week later you send them an introduction email and a link to a portfolio that is tailored for them. You can do tailored portfolios on Art Station if it’s too much of a hassle on your own site.

Mailing out postcards with your art on them has become cheaper than ever. And it’s so unusual now that people might take notice again. Who gets mail at work anymore? Especially if it has a really cool image? Shake that tree ya’ll!

Do you have friends in similar situations? If so, then ask what they’re doing to get new clients. If they’ve already got clients, take them out for coffee and pick their brain about their working methods and see where you could do better.

Essentially you need to have a public presence to show that you still exist and that your work is viable and you are available...but avoid being too obvious about it. Again, don’t ask on social media that you’re in dire need of work. Even the tag AVAILABLE FOR WORK on LinkedIn is a little touch and go...but, if you feel it’s right, then give it a whirl. Maybe it’s the way to go on that platform. I myself have not tried it.

Touchstones- During the holidays it’s a good reminder to the client that you appreciate their business. Sending a standout greeting card is a nice way to do it. If you’re making bank from them, upgrade it to a gift basket. Usually that gets shared in the office and in many cases people from other departments and other projects will see it and think to hire you next time.

I have one friend who, when he works at a studio throws a lavish bbq outing. EVERYONE remembers these, even years later they still talk about them because it brings so many people together. Sometimes throwing a little shindig for clients and friends who are also artists isn’t the worst idea. In fact, it might be the best idea if you have the space and the ability to do it up right! #yourewelcome

Personal Projects- Lastly, start that personal project you’ve always wanted to do. Like furthering your education, once you put into a practice a daily routine of work, when new clients or work comes in, adjust your schedule to fit the client in and not the other way around. Sure, you’re going to need to dedicate more time to the client, but DON’T ABANDONED what you’ve started. This is piece of mind for you that you’re still doing WORK THAT MATTERS...whether you get paid or not.

And isn’t that something worth fighting for?

=s=