Category Archives: Freelance

Mad to start freelancing in the recession? Thou shalt make overly-ambitious new year resolutions

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Phew. I’m back, after a Christmas break in which my immune system saw fit to relax and welcome in a stinking cold, thwarting any grand plans I might have had about coming up with irresistible feature ideas, sorting out my contacts book and getting my accounts in order.

It was almost like the cumulative mental stresses and strains of 2008 congested in my head only to be blown out with gusto as 2009 arrived. Which brings me onto my next point – Happy New Year.

Ah, New Year, a time for reflection, reinvention, and of course, New Year’s resolutions. This time last year I was resenting being back at work – now (like many people in this country) I’m thankful to have any work at all.

So, as I dust off the last of the mince pie crumbs and attempt to wean my body off regular doses of red wine, cold turkey, Quality Street and every other kind of oral fixation I seem to have developed whist watching re-runs of Home Alone and the Antiques Roadshow, here are my top five, ever-so-slightly over-ambitious but necessary New Year’s, New Freelancer’s Resolutions / Commandments:

1. Thou shalt stop procrastinating. Any time I feel inexplicably compelled to tune into 80s videos (read: Foreigner, Toto and Chris De Burgh) on YouTube, or sneak into the kitchen to prepare a strangely frugal yet hybrid snack made from the collective ingredients of my  kitchen cupboards, I will resist. I will use spare time wisely: chasing invoices, brainstorming ideas, reading other features and researching. Twittering however, and other genuine modes of online networking, will be self-permitted and encouraged.

2. Thou shalt aim high. I must remember that my experience, expertise and capability are precious – and will not be tempted to sell myself  short or write for free. Because thou is worth it, right?

3. Thou shalt be more persistent. I will make sure I’m being proactive about pitching and will not be afraid to bang on doors – everyone else is doing it, after all.

4. Thou shalt diversify and leave thy comfort zone. Surely there is money to be made writing about all sorts of esoteric subjects I haven’t thought of yet?

5 Thou shalt blog, like there’s no bloggin’ tomorrow. Because it’s quick, effective, a great way of joining the debate and networking. I’ll be one of those bloggers with a book deal before I know it…

So, I’ll keep you updated as to how I get on with those – and why don’t you share any you might have with me? Right, I’m off to Dubai for ten days in an attempt to mix pleasure with work. Tune in next time to find out how I got on…

Rosie Birkett is a freelance journalist and sub-editor who specialises in food, hospitality and travel. She can be contacted on rosiebirkett1 at hotmail.com. She also blogs at thelondonword.com and at fiftyfourfoodmiles.wordpress.com. You can follow the series ‘Mad to start freelancing in the recession?’ series here here.

Mad to start freelancing in the recession? Networking, procrastination and press trips

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Since my last blog I’ve been on a press trip with other freelancers, which is something I’d whole-heartedly recommend. To be in the company of others such as yourself, and share stories about late payments, vague commissions and (grippingly) how to fill out tax returns, is a massive comfort.

Or it is to me anyway, who is finding the isolation one of the hardest things about freelancing. Not having anyone there to look forward to lunch with, or a fellow soul to share tea-rounds with is tough. Not to mention the lack of the sorely missed ‘post-work drink?’ offer or someone else to get excited about a story with.

But it wasn’t just the camaraderie that made the trip worth it – I got some interesting inside info on which editors are taking freelance commissions at the moment, who pays on time and who to avoid.

Something strange seems to keep happening to me in my new guise as a freelance. It’s crippling writer’s block, (though some might call it internet-abetted procrastination) which usually sets in during the last few acceptable working hours of the day.

It’s happened thrice now, me filling my creatively-stumped time with Twitter conversations (does virtual networking count as work?) or chuckling at Charlie Brooker.

Then suddenly, I’ll get a burst of inspired motivation, or a profound idea, just as my housemates burst through the door with that end of the day, ‘so-glad-to-be-home-and-crack-open-the-red’ gusto, flinging open the door to our communal lounge to find me hunched and furrow-browed over my laptop positively scowling at the interruption.

While I’m not drowning in commissions, I’m starting to get somewhere with some magazines, and I’m finding that websites and blogs are open to pitches and more likely to respond (though obviously less lucrative). One thing I’ve discovered, which has been incredibly handy, is going back over old features and finding a new angle and new market for them.

Taking a previous interview or idea, updating it, reworking it (obviously checking you’re not breaching any copyright agreements) and finding a specialist website or blog that is interested has made me a few extra quid here and there. It’s not enough to live off of course, but as it does for those smug, bum-slapping mums in the supermarket ads, when you’re freelancing in a recession, every little helps.

Rosie Birkett is a freelance journalist and sub-editor who specialises in food, hospitality and travel. She can be contacted on rosiebirkett1 at hotmail.com. She also blogs at thelondonword.com and at fiftyfourfoodmiles.wordpress.com. You can follow the series ‘Mad to start freelancing in the recession?’ series here here.

Stop-and-search: new guidance for police treatment of photographers

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As reported by theregister.co.uk and the British Journal of Photography, new terrorism guidance for police officers has been issued. The National Police Improvement Agency (NPIA) has released its update ‘Practice Advice’ on stop-and-search powers, with reference to the Terrorism Act 2000.

The advice includes guidance for police officers on how to deal with photographers, but is not final. It has now been circulated to forces for final comments. After further consulatation it will need to be endorsed by the Assosiation of Chief Police Offices. (ACPO) [information courtesy of photojournalist Marc Vallée]

This announcement follows up from Marc Vallée’s assessment of the situation here and here.

The guidance:

“The Terrorism Act 2000 does not prohibit people from taking photographs or digital images in an area where an authority under section 44 is in place.  Officers should not prevent people taking photographs unless they are in an area where photography is prevented by other legislation.

“If officers reasonably suspect that photographs are being taken as part of hostile terrorist reconnaissance, a search under section 43 of the Terrorism Act 2000 or an arrest should be considered. Film and memory cards may be seized as part of the search, but officers do not have a legal power to delete images or destroy film.

“Although images may be viewed as part of a search, to preserve evidence when cameras or other devices are seized, officers should not normally attempt to examine them.  Cameras and other devices should be left in the state they were found and forwarded to appropriately trained staff for forensic examination.  The person being searched should never be asked or allowed to turn the device on or off because of the danger of evidence being lost or damaged.

“Film and memory cards may be seized as part of the search and images may be viewed as part of a search.”

Marc Vallée asks on his blog:


“What is going on here?  Does Section 43 of the Terrorism Act 2000 override the long held journalistic protection of Special Procedure Material under the Police and Criminal Evidence Act (PACE)?

“As an article on the EPUK website put it last year: ‘Under the Police and Criminal Evidence Act, material such as a journalist’s notes, photographs, computer files or tapes are classified as Special Procedure Material, which have a higher level of protection than ordinary possessions.’

“Which means if the police want to look at such material then they would have to go in front of a judge and explain why.”

Pictured: A press photographer files images on the move as environmental activists march from the Camp for Climate Action to Kingsnorth Power Station Hoo, Kent, England on Saturday August 9 2008. 2,000 campaigners marched on the Power Station with the aim to shut it down for the day. (Photo Marc Vallée/marcvallee.co.uk) (c) Marc Vallée, 2008.

In the meantime, until further information is obtained, Ray Mincoff, the NUJ legal editor, has issued this statement:

“We welcome the publication of unequivocal guidance showing that the Terrorism Act does not prohibit the taking of photographs in public places.

“The authorities must now ensure that police officers are aware of the limits to their powers. It must also be made crystal clear that the right to seize film and memory cards can only be used in the very exceptional circumstances where there are strong grounds for suspecting someone of being a terrorist.

“If section 43 of the Act ends up being casually used by officers in the same slapdash manner as other parts of the legislation, it would seriously inhibit the ability of journalists to work in our cities. The police cannot routinely use anti-terror or other legislation to stop journalists in their lawful and proper work. Neither must they see these guidelines as a green light to seize journalistic material, the special nature of which is recognised by law.

“We will also be looking carefully at other aspects of the guidelines to assess other possible effects on civil liberties and the free press.”

UPDATE:

Marc Vallée wrote to the National Police Improvement Agency (NPIA).

“Under the Police and Criminal Evidence Act, material such as a journalist’s notes, photographs, computer files or tapes are classified as Special Procedure Material, which have a higher level of protection than ordinary possessions,” he wrote.

“What is the view of the NPIA on this in the context of stop-and-search powers like S43? Could a UK Press Card carrying photographer use Special Procedure Material to stop or limit the scope of a stop-and-search under S43? or S44?”

They responded:

“There has been no change to the law. These guidelines remind officers that they can only stop-and-search photographers in exceptional cases where they believe they are involved in some kind of terrorist information gathering activity.”

UPDATE TWO (02/12/08): the NPIA has now added this statement:

“The Practice Advice makes it clear that there has been no change in the law. Journalist material will continue to enjoy the higher level of protection offered under PACE.

“For example, if a police officer suspects that photographs are being taken as part of terrorist information gathering they will rightly investigate. But once the stopped person makes it clear that they are a journalist then this will usually reassure police that they have legitimate reasons for taking photographs.”

New blog series: Mad to start freelancing in the recession?

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Despite all that stuff about English degrees leading to flipping burgers, after leaving university I had the good fortune to run my own magazine with friends while temping at a local TV channel and then to work as deputy editor for a regional magazine. Since graduating, I’ve managed to hold down full-time editorial roles.

Until that is, I moved to London, did a maternity cover stint at my dream magazine – spent five months making contacts, gaining industry leeway and vital experience – only to find there were no permanant jobs going at the end of it.

Luckily for me, my most recent employers have been kind enough to give me shift work (a godsend if you can get it), which has given me the security to make a go of freelancing.

And so, just as the country entered recession and editorial budgets everywhere were cut, I have been thrown into the world of freelance journalism.

Suddenly I went from the safety of the office, its databases, reputation and regular income, to the forlorn makeshift study in the corner of my communal sitting room (because who has room for an office in London?). It was time to abandon Outlook for Twitter and to change from being the one receiving, commissioning and yes, I’ll sheepishly admit, occasionally ignoring freelance pitches, to the one doing the pitching.

In this blog I’ll chart my progress as I endeavour to make a living (albeit a meagre one) off my own back, the freelance way.

It won’t be so much of a ‘how to start out as a freelance’, but more of a collection of stories, anecdotes, and hopefully a forum for people in a similar boat to share ideas, advice and opinion. Welcome to the world of the newbie freelancer.

So as the invites from PRs for lunches turn miraculously into ‘I’ll be at that canapé reception – catch you then’ and the chill-inducing tone of commissioning editors everywhere sings out bluntly ‘never heard of you’ – I’ll be sharing it here, with you, along with (hopefully) the odd triumphant tale of why freelance is the way to go…

Rosie Birkett is a freelance journalist and sub-editor who specialises in food, hospitality and travel. She can be contacted on rosiebirkett1 at hotmail.com. She also blogs at thelondonword.com and at fiftyfourfoodmiles.wordpress.com. You can follow all Rosie’s freelance updates here.

Organ Grinder: Jeremy Dear: end casualisation in war reporting

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Journalist Kate Peyton, who was killed in Somalia in 2005, was a victim of ‘the creeping casualisation of the media workforce’, argues the general secretary of the National Union of Journalists (NUJ).

Peyton agreed to work in Somalia to protect her contract with the BBC, says Dear.

“It casualisation makes people disposable and discourages dissent and caution. Staff near the end of their contracts feel they have to go to any lengths to prove their worth,” he adds.

‘What I’ve learned as a published author’ by Linda Jones

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Yesterday Journalism.co.uk posted part one of Maria McCarthy’s guide to getting a book deal. Freelancer Linda Jones has already done just that, and here she shares ten ‘blindingly obvious things’ she has learnt in her first year as an author.

The post was originally posted on her blog at Freelancewritingtips.com. Get in touch with your own stories: judith at journalism.co.uk. Here’s what Linda learnt, following the publication of the Greatest Freelance Writing Tips in the World.

1. A book launch may be more hassle than it’s worth: This time last year, I was feeling pretty pleased with myself. My first book, the modestly titled Greatest Freelance Writing Tips in the World had just been published. Holding some initial copies in my quivering hands, I’d felt a rush of pride. Now here I was, preparing for my very own book launch. Then one by one, more than half the confirmed guests dropped out. My heart sank. Even though local paper reports and reviews followed and those lovely guests who did come along were overwhelmingly positive, I was disappointed. In hindsight I can see my expectations were unrealistic. But I hated feeling like Billy no-mates.

2. Authors don’t always want to discuss sales: Go on; guess how many my book has sold. Bet you can’t. I’d rather not say, if you don’t mind. Of course if you know anything about publishing it won’t surprise you that my figures may not even rival David Blunkett’s. This wasn’t the outcome I was hoping for. I was so naïve. Wary of upsetting a PR team, sacred of jinxing future sales or plain embarrassed, other writers I know also prefer not to join this potentially humiliating ‘show and tell.’ Yet this ‘smoke screen’ allows wannabe authors to cling on to unrealistic dreams – creating a vicious circle of silence followed by dashed hope. Seriously, how many do you expect your book to sell?

3. They don’t always want to talk about rates either: My advance and royalties are modest by any standards. I was paid £1,500 in advance and have royalties of 10 per cent on further UK sales. Finding out how indicative this is of current rates, initially proved as effective as Russell Brand at a True Love Waits meeting.

4. However many positive reviews you get, you should be prepared for the possibility that you’ll care most about the bad one: I was bowled over when one reviewer said my effort was ‘the only book a writer will ever need.’ Then someone slated it. That’s the conclusion that lingers in my mind. I’m not sure why one negative comment is felt so much more keenly. Can anyone explain this phenomenon other than saying it’s basic human nature?

5. On the subject of reviews – they don’t sell books: The resoundingly positive reviews may have given me a warm glow inside but aren’t doing a thing for my bank balance. I’m advised they may help me if I ever go in search of an agent. But that’s a terrifying prospect. (See point number seven) I’ve learned that reviews are only a small part of the post-publication story. Without a prime time chat show or reality TV career, even the most wonderfully received non-fiction books from small publishers may be destined for an underwhelming future.

6. Checking out where you are on Amazon is pointless: It’s depressing to ride the roller coaster ride of Amazon rankings. I can sometimes make it to the top of a list of bestselling books by (ta da!) authors with the same name and some days I manage to hover around the 2,000 mark. I don’t think I’ll crack open the Aldi champagne just yet. But it’s pure vanity, desperation or complete madness anyway. It’s just one bookshop. I’m just glad I’m not alone.

7. Agents are scary: Who’d have thought I could have so much in common with John Prescott, apart from the waistline? Yet I feel bound to flounder as a working class outsider when it comes to understanding agents. I’ve read they prefer young Oxbridge graduates with a media profile. That’s enough to put me off. The one time I got over my nerves and was told a more recent proposal was ‘excellent’, I was later dismissed with ‘Sorry Dahling, I read it too quickly’. I rest my case.

8. Publicity and blogging is a long hard slog: I threw myself into promoting my book. Pieces have popped up in radio shows, newspapers, magazines, websites and blogs. I laughed my head off when a magazine called me a ‘celebrity’. I keep people up to date in a Facebook group. Funnily enough, each time I send an update, coupled with details of new opportunities for writers, someone drops out.

9. That thing in the movies where first time authors go misty-eyed over their book in a shop window, doesn’t happen to everyone: Yes I really did think about that. When a reader emailed me to say she had bought my book from Waterstones in central London, I was cock-a-hoop. When my publisher emailed to explain that really, major retailers weren’t that interested, I was crestfallen. I should’ve listened to Craig who said I should give the book away to create more of a ‘buzz’.

10. I should have known this stuff before my book was published: If you’re an aspiring author, please learn from my mistakes. Look past that joyous moment when you’re told your book has been commissioned and get real – it could be a rocky road ahead. Find out what you can about how book marketing, distribution and sales really work now to help you through the inevitable potholes later.

The draft Terrorism Act 2000 guidance: what’s happening?

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Photojournalist Marc Vallée updates us on the implications of the terrorism laws, for photographers and journalists, over on our main site.

Today, the Home Office had intended to publish new operational guidance to the police on the use of stop and search powers under section 44 of the Terrorism Act 2000 for those taking photographs in public places.

Here you can read the details of the draft guidance, with Marc’s comments:

Details of the draft guidance, as originally published on his own blog:

“There is no power under the Terrorism Act 2000 to prohibit people from taking photographs or digital images in an area where an authority under section 44 is in place.

“If officers reasonably suspect that photographs are being taken as part of hostile terrorist reconnaissance then they should act appropriately, by searching the person under Section 43 of the Terrorism Act or making an arrest. Cameras, film and memory cards may be seized as evidence but there is no power for images to be deleted or film to be destroyed by officers.”

MV: What if section 43 with its powers to seize ‘cameras, film and memory cards’ is misused in the same way that section 44 has been misused by the police? Just think of the chilling effect this will have on photography in a public place.

Then, to Clause 75 (amended in committee – 22.10.08) of the new Counter-Terrorism Bill 2008.

(1) A person commits an offence who:

(a) elicits or attempts to elicit information about an individual who is or has been:

(i) a member of Her Majesty’s forces
(ii) a member of any of the intelligence services, or
(iii) a constable

MV: A ‘Constable’ is the legal term for all police officers. Elicits or attempts to elicit information: ‘does that include taking a photograph and publishing it?

(b) publishes or communicates any such information.

MV: You can get 10 years for this one! And I almost forgot, every police force in Britain is going to be equipped with mobile fingerprint scanners which will allow the police to carry out identity checks on people on the street. I think I’m going to need to get myself a desk job!