Excerpts from Starting Your Career 1 2 3 EX
Do I Have The Right Stuff?
If you’re reading this, you have more than a vague curiosity about going out on
your own. That’s a good sign right there. You won’t be required to break the sound
barrier every workday, but ask yourself these questions and think about the
following points: What are you getting out of this? Why are you doing it? Question
your motives and answer honestly. You can make a nice hunk of change
freelancing, but you could also win the lottery before you create the next
Simpsons. If you want to freelance just for some easy “big bucks,” you’re in for a
rude surprise. And do you have the special skills that translate into that
moneymaking opportunity? Your business exists only to profitably practice your
craft. Without talent, even a superbly structured framework won’t take you very
far.
Do you have the drive and ambition to turn that skill into a success? Talent
without drive and motivation does not generate income. A dream without desire
cannot be fulfilled. Freelancing should be what you have to do—for your soul and
your checkbook.
How’s your business acumen? If you have little or no sense of how to run a
business, it is time to learn. On-the-job training will teach you the hard way; better
to read, research, and study before you become the one-minute manager.
Are you self-disciplined? It’s easy to be excited about getting the cover of Time
magazine. The great assignments spark an energy that feeds itself. But behind the
glitter of those “important” jobs lies your everyday world. As a freelancer you must
diligently face the small daily drudgeries with the same aplomb shown those
“bigger” responsibilities. A poor attitude will cripple your workday. Lackadaisical
habits will get you into trouble very quickly.
There will be mundane tasks and tiresome chores, and your commitment lies
here as well. You may be bored by those simple jobs that cover the rent but you
must have the determination to see them through, to make sure they’re done
right. You should attend to all the “little” tasks with a healthy, positive spirit. There
may come a day when you pick and choose only the select commissions while
delegating lesser responsibilities to your assistants. Until then, can you do grunt
work and think in the long term?
Are you decisive? As the Lord High Everything you’ll be making all of many
decisions and taking responsibility for the consequences. Remember, you are the
boss. And, hey, boss—does taking a risk scare you? If you can’t even chance a
response, you’ve answered the question already! Without being cute, freelancing is
risky business. After all, it is your time, your energy, and your money being poured
into this venture. Professionally, no one else goes down the tubes with you if you
fail; personally, you and your family have much to lose. Outside your studio, it’s
not a controlled experiment. You may well ask how much luck figures into the
equation. I’m one of those who believe that luck is that moment when preparation
meets opportunity. You minimize the gamble with sweat and organization, but
there are no guarantees and lots of variables. You have to be willing to wager a bet
to reap the reward.
Can you tolerate a fair amount of rejection? Unfortunately, this is a fact of life
for every freelancer up and down the ladder. You will get rejected for many
reasons, those misjudgments regarding your abilities probably being the least of
your worries. In simplistic terms, the creative director looks at your work and says,
“Can I sell my product with this art? Will I make my point by using this
illustration?” If the answer is no, your work will be rejected.
When all is said and done, it is the portfolio that counts. Remember that
rejection is the downside of an isolated opinion, a particular preference. It’s not the
gospel. I won’t kid you, rejection hurts. But if you have faith in yourself and your
ability, it will never kill. Create an inner strength from your substantial talent, and
draw from it. Rejection is simply part and parcel to freelancing. Can you handle it?
The decision to assign any illustration usually comes down to the best (read
appropriate) illustrator to meet that job’s particular needs. Serendipity—being in
the right place at the right time—is your good fortune, but beyond your control. It’s
nothing to brood over, nothing you can fine tune. Knowing somebody within the
organization can help, but doesn’t always. Your politics don’t often enter into the
scenario (unless your politics are synonymous with your work).
It’s not that they won’t like your tie—unless you give new meaning to bad
grooming or dress like you just lost a bet. You shouldn’t lose work because of
casual (but tasteful) attire. Assuming you haven’t provoked an international
incident or insulted anyone’s sainted mother, you won’t lose an assignment
because “they hate you” (always for some vague, undetermined reason).
At some point an artist’s personality can certainly influence the art buyer’s
decision, and that winning smile is to your definite benefit. Obviously the two
parties must interact, so personalities can’t be avoided. However, if you don’t have
the style and skills the task requires, you won’t get an assignment on pure
congeniality.
Attitude and reputation will be factored into the equation, too. Art directors are
looking for skilled individuals who can deliver the goods on time. Your samples may
sizzle and glow, but if you’re an argumentative prima donna who can’t meet a
deadline, you’re not a viable commodity. Be down to earth, be yourself. Be
dependable, be on time, be flexible. No matter how small the assignment or
business, always do your best job.