Most Gainfully Employed have the benefits of receiving a regular paycheck and seeing their year to date totals earned and deducted. They know who to contact if there are discrepancies. The Gainfully Unemployed freelancer can receive checks from numerous one time only and returning clients, which makes keeping track of received and accurate payments a challenge. We may accept various methods of payment: check, PayPal, etc. Usually we’re not paid on a regular basis, nor do we have automatic deposit. So we can’t know when income from certain jobs will arrive or keep track of what we’ve earned just by glancing at a single W-2.

I’ve created a many-column Excel chart listing all the jobs I’ve done, for who, what I’m supposed to get paid, when I do, etc.  I can tell at a glance how this year compares to last year, and who has or hasn’t compensated me.

So far I’ve only had one client who hasn’t paid. If an independently acquired client doesn’t pay in a timely manner, we have to be our own collections department. I’m still trying to track the money down, but the voiceover for a TV commercial in another state, which I got from a trusted online site, was completed a few months ago. I know  it can take awhile for production companies to get paid by their clients, and they usually don’t pay the talent until they are paid. This production company, however, didn’t say they too were awaiting payment.

At one point, the client actually told me the check was in the mail. When days went by and I told him I still hadn’t received it, he emailed that he’d check on the check.   

It’s not easy to know how often to send reminders, or the appropriate tone to take as time passes.  Do I stick with something like, “Please remit at your earliest convenience,” or get more demanding?

Will I get stiffed?  Time will tell.  

What you wear can be important. For example, many jobs require uniforms. And if you’re going to a wedding or an interview, you probably put some thought into your outfit and accessories and wouldn’t dream of wearing faded jeans and a t-shirt.

Often an actor is required to supply her own wardrobe, whether she’s a principal or an extra. This means choosing and bringing multiple options, including shoes and jewelry, either to a paid wardrobe fitting before the shoot or to the set. Many people use suitcases with wheels, but I try to fit what I need into a garment bag and a backpack.

Usually we’re told things such as: casual, nice casual, business casual, etc. And/or not to bring white, red, clothes with logos, items with large or bright patterns. A couple of times formal wear has been required. It’s interesting to see how people interpret these descriptors.

Occasionally auditioners provide additional wardrobe, such as a lab coat (which may or may not fit/be flattering). At a recent audition they provided a hat and mittens.

On set, clothes and hairstyle can make the man or woman. I was supposed to be a reporter on a TV series. But when the wardrobe people saw my nice business suit, they had me be a government official instead…a more featured role that resulted in several minutes of screen time. The woman originally cast had brought separates, no jackets with matching pants or skirts.

It probably didn’t hurt that I’d straightened my usually curly hair, which the hairstylist had taken more than half an hour to flatiron again (someone has decreed that no TV reporters should have curly hair. Flip through the channels and you’ll see. I’ve learned this rule also applies to movies/TV shows. To be a reporter in a major film, I’d slicked my hair into a low ponytail. That hair person also flatironed my hair…and put it back into a ponytail.) For period films, you have to be willing to cut or grow out your hair.

Sometimes there’s miscommunication about exactly what or how much to bring. Once I was told “upscale bar,” and dressed accordingly. The hairstylist had painstakingly straightened my hair to a Vidal Sassoon commercial sheen. Someone on the crew came to take us to set and was fairly horrified. Because it was really a blue collar bar. The hair person smeared some greasy cream in my hair. We literally ran to the wardrobe truck, had clothes thrown at us and put them on as we ran to set.

Recently I did a print shoot where I changed clothes seven times in two hours. The challenge is to bring enough without having to schlep too much.

These days it’s easier than ever to fritter away time and brain power on the Internet, from watching all sorts of videos, reading countless articles and keeping up with social media. We might think we’re busy, but what are we accomplishing? What are we learning?

Not that many years ago, we might have felt out of touch if we didn’t read the paper or watch the nightly news. Now we might feel out of the loop if we’re not up to speed on sites from Facebook to LinkedIn to Twitter. New options pop up frequently. How many do we need?

Cultural literacy used to consist of, for example, being familiar with classic literature and films. Now it might mean knowing who the latest YouTube sensations are. Why is the media so obsessed with topics such as the Kardashians…if they’re given that many column inches/minutes on the air, who and what are they pushing off the page/screen? How many of us can name all the siblings or know how long Kim was married before filing for divorce, but don’t how much they need to save for retirement?

Though I constantly hear about the value and importance of Twitter, my dabblings have proved confusing, and haven’t yet shown me why I need to be more active on it. At the same time, I wonder what I’m missing. I keep reading that to increase followers and achieve any results, a consistent presence is needed. How many tweets is too many, and how do you stay on top of tweeting, reading, following, retweeting, accompanying apps/tools, etc., and still get work done?  What’s the tipping point for gaining useful knowledge, growing buisiness and social relationships, and time suck? 

For more information:
How many tweets should you do a day?

Better time your tweets.

How often should you tweet?

How many tweets is too many?

Some Gainfully Employed may be able to work 9 to 5, then go home and relax. They may be able to free their minds, put their feet up and not worry about what’s still on their plate — except for dinner. Some have two jobs and/or other obligations, and need to summon the energy and discipline to take those on after putting in many hours at the office.

The Gainfully Unemployed often juggle multiple projects and have little control over when or how many additional opportunities will arise or how much notice we’ll get. When jobs and auditions come in, my instinct is to say “yes” (unless the terms are egregious, i.e., $100 for a national TV commercial). Not only because I appreciate and enjoy the work and the income, but because I don’t want the client/agent/producer to choose someone else. Not this time or the next. And if an upcoming week happens to be slower, I might regret passing on a prospect.

Some days, fitting in last minute auditions and jobs can be a challenge. I’ve tried being in two places at once … getting permission to leave one gig during lunch to pop in for rehearsal at another. That can be costly (cabs or parking lots vs. walking, taking the bus or finding street parking) and nerve-wracking, if I’m constantly checking my watch to make sure I have enough time to get back.

Too much work and socializing in one day can also be hard on my voice. Recently I had a singing rehearsal and a VO job a couple of hours later. I wasn’t sure how long the recording session would last, nor did I get a script in advance so I could see how much copy I had. Then a client called that morning with a rush VO job, which I did from home. The afternoon job turned out to be two hours with only a short break. By the end, my throat was starting to get scratchy. Maybe additional warm up exercises and vocal care (hydration, throat spray, lozenges, etc.) will help in the future.

A long day on set is usually interesting and enjoyable, but can be exhausting. So if I have an upcoming deadline for, say, a writing project, or if I’ve made plans to go out, do I push myself to do it all or not … and fall behind or miss out on the fun?

Each of us can find the balance between pushing ourselves and taking an appropriate break.   

Create Margin in Your Overly Busy Life

Busy, Busy, Busy!

Where is your time spent? 

Some freelancers justify playing instead of working by saying they became a freelancer so they didn’t have to clock in at an office or report to a boss. They may sleep in, take long lunches, and/or spend hours on personal pursuits. Maybe some can wile away the hours but still earn a good living and save. Others may choose or defensively rationalize getting less done and earning less than their full potential.

I tend to believe that because I’m a freelancer, I should work more than 9 to 5. And to me work includes preparing for the future of my career and for retirement, not just finishing jobs on deadline. Particularly in this economy…when so many who want to be gainfully employed aren’t, I’m even more grateful for every paying gig.

While the “work first” approach helps keep money and projects coming in, it can also lead to working too many hours a day. Yet even as my eyes blur from staring at waveforms and words on my monitor, I think about putting more irons in the fire. I wonder if I should take a break from any enjoyable but “free” pursuits such as improv teams, committees or chorus. Instead of going out on a given night, should I conserve energy for a busy tomorrow?

Bookings can be last minute. I’ve gotten emails after 9PM the night before, one as late as 11:20PM. Of course I can say I’m not available, but I’d rather not turn down a client…even if I already had a lot on tap that day. Fortunately a lot of my work happens to be fun, but that isn’t quite the same as actual play or relaxing.

Perhaps at times I put more pressure on myself to be productive than I need to. But if I don’t, who will? 

Jessica.preeg@stmartins.com

THE SPIRIT OF CHRISTMAS (St. Martin’s Press, October 25, 2011) is an inspiring collection of true stories from real-life people who have experienced such moments where the meaning of the season becomes undoubtedly clear. A man mailing gifts at the post office witnesses a moving scene that changes his life forever. An unhappy couple is drifting further apart…until a special Christmas gift allows them to renew their love and mend their fractured marriage. And a father tries to keep the spirit of Christmas alive for his son with a grand gesture–a gesture that will be remembered by his family and many others for years to come.

With a forward by bestselling author Debbie Macomber, who is widely considered the “Official Storyteller of Christmas,” THE SPIRIT OF CHISTMAS is filled with magic, wonder and deep meaning. It’s impossible for these stories not to touch your heart. I look forward to your coverage.

CECIL MURPHEY is the co-author of the New York Times bestseller, 90 MINUTES IN HEAVEN. He has published 108 books and lectures widely. MARLEY GIBSON has written several young adult novels for both Penguin Group and Houghton Mifflin. They have collaborated on a previous Christmas book for St. Martin’s Press, CHRISTMAS MIRACLES.

TO REQUEST REVIEW COPIES AND/OR AN INTERVIEW WITH THE AUTHORS, PLEASE CONTACT:

Jessica Preeg, Publicity

T: 646-307-5568/ E: Jessica.Preeg@stmartins.com

Those who love showtunes (like I do) will immediately think of Godspell when they read the title of today’s post.  But I don’t have Stephen Schwartz’s musical in mind. I’m thinking about how the random flow of work and schedule changes out of our control impact the Gainfully Unemployed.  How our plans for a given day can change at the drop of a hat.

For example, I found out that at around 11:15 that a print job I was supposed to do in Evanston had to be postponed because of problems with the camera.  Some freelancers may relish such cancellations, especially when the weather is as perfect as it is today, and view them as an opportunity to have fun.  Others, like me, usually prefer to be productive instead of playing hooky.  I now have several more hours to work on a VO job that arrived yesterday.  The sooner I finish it, the sooner I can start on the next project. 

Similarly, if we don’t have impending deadlines, it’s easy for the GU to schedule what seems like a full day…breakfast with one friend, lunch with another.  Add a doctor’s appointment followed by that errand we’ve been meaning to run.  So we’re busy, because our calendar is full and we’re running from place to place.  But is that the best use of our time?

We don’t report to a boss, and often have the freedom to choose whether to work or play.  I believe that relying on this freedom and giving into the temptation to take off (or fritter away hours on the Internet, Facebook, Twitter or other social media) too often can lead to less work coming in and thus to self-sabotage of our success.  Being a freelancer is a privilege, not a right, IMO.  If I don’t have a project on my plate today, I can use that time to grow my business, to self-market and put more irons in the fire.

On occasion, however, I think freelancers should take advantage of the fact that our time cards are flexible.  One solution is to devote a portion of any found time from cancellations/rescheduling to additional work, and a portion to spontaneity and relaxation.  I’ve made progress on my VO project, so I’m going to enjoy part of the day…outside, not at my computer.  And run that errand while I’m out and about.

I’ve posted several times about customer service (CS)… for example, here and here.

I believe good CS and good products lead to happier customers, who then purchase more and/or return to shop another day, recommend the store/site to their friends who make purchases. This in turn helps the economy and can lead to more jobs. Not only can bad CS can put a huge damper on your day because of lost time and frustration, whether the issue gets resolved or not, if you tell your friends who tell their friends, that company may lose customers and revenue over time.

The explosion of social media makes it easier to share positive or negative experiences, and any impact could be felt right away. How many comments on Facebook these days are about how many people hate the changes?

This week’s CS experiences:

Walgreens: offers walk in flu shots via assorted modes of advertising. They don’t mention that you might have to wait a long time. When I got there, they said it would be a few miunutes. After around 10 minutes, they gave me a form to fill out and I paid. They didn’t update me or communicate how much longer it would be. Twenty minutes after arrival, I got my shot from a very pleasant and informative pharmacist. To me, that’s not what the ads promised.

Banana Republic: Went to look for khaki pants. Pleasant salesperson didn’t know if they had my size or, apparently, care to look. Fortunately I found them myself (they didn’t fit, but that’s another story). People at the register didn’t seem welcoming, and in fact seemed distant until I broke the ice with conversation. Will I go back to the store? No. Will I shop online? Maybe, because their shirts/sweaters fit well.

Trader Joe’s: Employees will actually walk with you to show you exactly where a product is, not just wave in the direction of Aisle 4. They have quality products at reasonable prices, and continue to update their offerings, with tasty dishes like the new such as the new Brussels Sprouts Sauté. And the amazing Toscano Cinnamon Cheese is back!

Ann Taylor Loft: When they didn’t have khaki pants that fit, the similarly sized salesperson told me where she bought hers. While some may gasp at her promoting the competition, her doing so made me want to shop at ATL again, because the impression I left with is that they care about customers’ satisfaction.

Customer service/sales may not be the reps’ ultimate career goal. But if they took their jobs seriously and tried to offer the best service, I’d guess everyone would be happier and sales would increase. I wonder what would happen if companies implemented these policies for even a month:
–Make a connection with each customer.
–Know your products and where they are in your store. Then because you’ve made that connection and know what the customer needs/wants, you can recommend options.
–Be welcoming and friendly, not bored or distant. Or snooty, as in that Pretty Woman shopping scene where Julia Roberts’s character gets snubbed until Richard Gere’s hands over his credit card.

Whether we plan to or not, most of us play different roles in our daily lives. You probably don’t act the same in front of your boss as you do your mother or close friends. You probably don’t wear the same clothes if you’re going to the gym, a business meeting or a wedding.

One of the fun things about being an actor is that you never know who you’ll be portraying on any given day. I had four VO auditions this morning for roles including several historical figures in a museum documentary, a well-known movie character for a casino game, two types of customer service reps and a personable announcer. Having the scripts gives me time to think about my approach, review the lines and do any research, such as checking out YouTube to better approximate the movie character’s voice and tone. And of course with VO auditions, I can record several takes and then decide which one(s) to submit.

However, when roles are similar, such as the customer service reps, the challenge is giving each a distinct sound without being too charactery. To be conversational while also conveying “playful” or “determined” or whatever else is asked for. If the only descriptor is “30s woman” or “40s woman,” successful adjustments for age are often even more in the ear of the beholder than nailing a specific quality. Will the client think a slightly lower, more mature tone is suffiicient, or do they want to hear something more? With VO, you don’t get the added benefit of wardrobe/hair, posture, expressions and gestures to help develop your character.

Auditions providing snippets of info are a little less fun because I like to prepare and plan. Adapting on the fly to the unknown can add a layer of stress, as can trying to find an unfamiliar and far away location. I have an audition for what the listing says is a network TV pilot. But it’s not through an agent, so a bit of skepticism seeps in. What I think is the production company’s website looks legitimate. I know the basic stats about the two roles I’m auditioning for, but was told the rest is confidential. The audition is improv, so there aren’t any sides to help me learn more about the project and plot. I have to embrace the possibilities and believe my years of improv training and experience will serve me well.

Upcoming projects include a reading of a piece written by a rape survivor and multiple as yet unspecified parts on camera and VO in a large e-Learning project. And more straight narration. Who knows who I’ll get to be next?

I love America’s Got Talent. Watching talented singers, dancers and other acts achieve their dreams is wonderful, whether they’re performing in front of a huge, live audience for the first time, to their appreciation of the magnitude of appearing on national TV, to gaining fans to working with one of their idols, such as Stevie Wonder or Patti LaBelle, to winning a million dollars and the opportunity to headline or be in a Las Vegas show.

It’s the American Dream personified: if you work hard to achieve your goals, if you put your mind to something, dreams really can come true. A good number of acts rise from relative obscurity to fame. Some improve and gain more confidence over the weeks, so even if they don’t win or make the Top 10 they’ll probably perform better in the future.

Season 6 winner Landau Eugene Murphy, Jr. was working in a car wash. Now he’s won one of the biggest talent competitions in the world.

But many don’t make it on the show. And the farther some acts go, the more time, energy and hope they invest, the bigger the fall when they don’t make it to the next round. When they fail to get the judges’ approval or enough of America’s votes.

I recently encouraged a friend to audition and, since I’ve seen every episode, helped with preparation. Time will tell. I don’t have a talent suitable for AGT. But I do know what it’s like to achieve a dream , such as winning Romance Writers of America’s national Golden Heart® Award. I’ll never forget the excitement of getting the call that my manuscript was a finalist, how I’ve appreciated all the congratulations, or the thrill of hearing my name called in front of around 2,000 people, including many industry professionals and best-selling authors, and going up on the stage to give a brief speech.

I also know what it’s like to get so close to a dream you can taste it and not achieve it…for example, when I receive a revision request for a manuscript I’ve already spent hundreds of hours crafting, then work diligently on the revisions, but the agent or editor doesn’t love it enough to take things to the next level. But like those who reach for the stars on shows American Idol or AGT, I continue to hope more dreams will come true.