From employment to self-employment

A guest post from Becky Demmen. This was first published on Advocate & Create, and is reproduced with Becky’s permission.

After I finished my internship I struggled to find that next step job that I wanted. I come from a background where a lot of my family were self employed. Seeing this as I grew up instilled a want to be self employed too. There is something about being in charge of yourself that really appealed to me. So, as my struggle to find my next job continued I thought I would try it out.

In this post I will be exploring the process that I took to move to self-employment. This is by no means a guide - it's just my experience and the things I considered on the way. Keep an eye open as I plan to highlight a lot of different jobs and opportunities in the creative sector on this site in the future.

Who you know.

I started by writing a list of all of the contacts I had built up over time. Years of volunteering and meeting people. It became clear that I had built up a list of really useful people. Include everyone. Even if they aren't within your field you never know who you may need. Being self employed or freelance isn't just about working in your field. You never know if one day you'll need website advice, tax advice, social media advice, a cleaner etc. The list goes on. You will be in charge of everything and may come against something completely unrelated to your field that you need to outsource. 

What you know.

You probably have an idea of what kind of service/business you want as a freelancer. I knew I wanted to continue my creative work. 

Look at your CV. Look at every job you have had (both in your field and not) write down everything you did there. For every job, from a shop job you did for three months to your first job in your field. - what were your responsibilities? What did you do? What did you achieve? - Once you have this list use it to work out what skills you have gained through your work life. What skills are transferable to what you want to do now?  

An example: I had a temp job in a shop. During that time I had a front line customer facing role. Transferable skills? Absolutely. In this one temp job I gained skills in selling, relating to customers and I also arranged the shop window displays. 

Whilst these things are not exactly what I want to do in my business they are very important. Part of my work is Arts Administration - I have to be able to talk to people, relate to them and, although I may not be selling as such, I am often  convincing people of the value of artistic work and advocating. So even a job "unrelated" to my core field can be relevant.

All of this work will be useful when you come to create your website. Speaking about things you have already done is  great way of letting people know you can handle work. It also helps with your confidence. Even if you haven't had a job in your field before there are plenty of things you have done.


I started to reach out to companies and people I already knew. People I had volunteered for and people I had worked for. Just a courtesy email letting them know what I am up to now. 

I also set out one day a week that could be used for further volunteering. That was really useful for me and has helped me meet new people and build contacts. It has also helped me to diversify my skill set. 

Once you start to meet people and show them examples of your work it's amazing how that can turn into contracts.

Will this work for me? 

This is something I thought about a lot. I had just completed an internship which I really enjoyed. I enjoyed working in an office with other people. It's no secret that working for yourself can become a little lonely. I get to meet a lot of people through my freelance work but at the end of it all I still spend days at home where I don't interact with anyone. 

Organisation is a big part of freelance. Scheduling everything in my diary can be a lengthy process. Keeping track of paper work and banking can take up time too. 

Work/life balance - I find it very difficult to keep a work/life balance. There is ALWAYS something else you could be doing. It's taken time but I have just started putting in organisational structures to ensure that I take more time for myself. I have found that pushing myself to do a 16 hour day doesn't actually get much more done than a well structured 9 hour day. 

These are all things to consider when thinking about if self employment will work for you. (There will be future posts of time management) 

Part time.

I now combine my freelance work with part time work. I really enjoy this balance and my part time employers are able to be flexible enough that I haven't had to turn down any freelance work. It provides a safety net financially and also helps with my morale. I am not working on my own everyday. I am building my experience and getting opportunities it may take years to get through self employment. My current part time job is connected to my freelance work in every way and really supports my work and keeps me inspired. The amount of times I have been at work and finally figured out the solution to a freelance problem is wonderful. It gives you space away from your freelance work for your brain to get a reset, solve problems and become reconnected to what you want. This has also given me time to look into the personal projects I'd like to do. So this is also worth considering. 

As I said at the beginning this is not a guide this is just a few things that i considered and the process  I took to become self employed. If you want a guide of the nitty gritty of becoming self employed then get googling or consider getting in contact with the Princes Trust - I did their entry course and it was extremely useful for understanding the other parts of business I knew nothing about. 

There are so many things to consider and it is about working out what is best for you. There may be a lot of trial and a lot of error but if it's what you really want then, trust me, it's worth it.

Audio Version of this post here.

Blog written by Becky Demmen, first published on Advocate & Create.

Booking now open for Conference 2019

We’re delighted to share that booking has now opened for AGENTS OF CHANGE: Driving and dealing with change as a freelancer in the cultural sector. For the full programme and to book please visit:

The conference is a Museum Freelance Network event for freelancers, by freelancers and will be held at Manchester Art Gallery, Manchester 10.30am – 4.30pm on Thursday, 14 March 2019.

About the conference

Speakers will share their journeys, practical lessons and tips and will explore many aspects of ‘change’ relevant to freelancers, including:

  • How can freelancers who aren’t attached to any particular organisation inspire and deliver change as ‘outsiders’?

  • How can individuals be the change they’d like to see? What power do they have?

  • How can freelancers be more resilient and prepare for or learn to embrace change?

  • How can freelancers cope and deal with change when it’s not change they were expecting, or perhaps wanting?

Speakers include:

  • A welcome by Alistair Hudson, director of Manchester Art Gallery

  • Jim Richardson, founder, MuseumNext: The worst day of my life and other stories

  • Esme Ward, director of Manchester Museum

  • Laura Weldon, creative director, StudioLWD: Using the power of branding for positive change

  • Caroline Newns, business coach, Caroline Newns Consulting: Growing and sustaining your freelance business

  • Simon Seligman, life coach and communications freelancer: The power of listening…to ourselves.

This year there is also a fringe conference programme which includes a group visit to the People's History Museum and facilitated networking with coffee ‘in the sky’ at 20 Stories on Wednesday 13 March in the afternoon, and a pre-conference social at The Alchemist in the evening.

After the core conference programme on Thursday, we'll move to The Refuge (Winter Garden) for drinks and we also have a special discount code for delegates for a cracking show at The Portico Library that evening for anyone who is staying on.

For the full programme and to book please visit:

Early bird tickets are £70, after which tickets are £90. There are also 3 £15 tickets available – for more information and to apply visit:

Greening our work: guest post by Bridget McKenzie

This post was first published on The Learning Planet following a Museum Freelance Twitter Chat back in the summer. With thanks to Bridget for allowing us to share here.

Yes, I’ve been active and vocal about the planetary emergency for as long as I can remember. But I’ve never been very strong on environmental management of one’s work and life. I don’t want to say that I’m unconcerned with my own footprint: I do all the things I can. I don’t fly, don’t drive, eat mostly plants, only had one child, and use 100% renewable energy. The only air miles I count are the ones involve in transporting my food.

But that said, I’ve always pushed back against the way ‘environment’ is put in a box labelled ‘eco-naggery’: saving energy, smart meters, and light bulbs, and now plastic packaging. I’m just not interested in the detail! I’d rather we spend time campaigning or fundraising to promote an international law against ecocide, to end the influence of fossil fuel companies, to end deforestation, and to encourage a ‘regenerative’ revamp of economy and society. I think that cultural organisations should support and normalise ecological education, activism and enterprise, and that they should be braver at facing the truths of the climate emergency. They should prioritise such work over reducing their own operational footprints, which they should do but only as one of many other activities.

However, I’ve been aware recently how vital it is to show daily leadership in one’s practices. Not because you expect to make a difference to the global temperature dial by turning off your kitchen light, but because your actions can affect how much people care about that temperature dial. It is better to do the right thing than not to do it, when the stakes are so great (and when the steaks are doing so much damage). This awareness has been raised by reading Peter Kalmus ‘Being the Change: Live well and spark a climate revolution‘.

Last week I led a Twitter chat on the #MuseumFreelance hashtag about being a sustainable leader in one’s freelance or sole-trading work in the museums sector. I’m not strictly a freelancer as I run a small company of 2-3 people, plus associates, but I haven’t worked as a staff member in an organisation since early 2006, so have a strong ‘freelance’ identity.

I asked these questions:

  • How can we reduce our impact when we run focus groups or workshops?

  • Freelance work can mean a lot of travel: is digital communication the best alternative?

  • How can we help clients and audiences have more planetary awareness? What if that’s not in your contract?

It was a lively chat and generated a lot of advice and mutual support. Some ideas included:

Christina Lister showed us her kit to minimise dependence on single use plastics:

Christina Lister's kit

Reducing in-person meetings after a set-up meeting, using collaborative and conferencing tools where possible, but taking care and preparing well in advance to ensure they work well. Hilary Jennings shared this guide from the Transition Network on how to work better together online.

Using digital tools like Mindmeister to share and develop ideas with clients rather than using paper, or having to meet in person.


And a great tip from Steve Slack (left).

For anyone who wanted to go a bit deeper on this, I shared:

  • My Possible Culture website, with tools to do change work with organisations towards being more ecocentric and resilient for a climate-changed future.

Christina Lister summed up her takeaways from the chat: 1) start now 2) share what you’re doing with freelancers & (potential/) clients 3) question things that could be made greener 4) baby steps are better than no steps (e.g. recycled paper) 5) think all aspects of your practice. She’s also written up a post about the chat, here.

My own big takeaway came out of my third question: How to help clients have more planetary awareness, even if it’s not in the contract. One suggestion was to be more overt about sharing one’s own environmental policy, including it in the way you pitch and negotiate contracts. It was interesting how rarely we were ever asked by clients about our environmental policies. I realised that I hadn’t revisited our own company’s one since dashing one off to a boiler plate template perhaps 10 years ago on a single occasion when it was required for a tender.

So, I made a pledge to rewrite one, and will do this with colleagues as part of process of creating a new organisation: Flow Experience. This will be a more charitably-oriented company than Flow Associates, and we will gradually shift all our projects into it. It will also be a platform for Climate Museum UK. I had the realisation that instead of tagging a footprint-reduction policy at the end of a business plan, start with the big purpose of eco-social change. Environment isn’t an ‘issue’, or only about the smallest level of detail. It’s the biggest possible expanse. It’s the world that makes our existence possible, from time immemorial – but only for the time being. In writing this policy, we’ll follow our own  change planning model, where we begin with ‘Discover’ – taking an expanded perspective to discover all drivers for change. Then we’ll zoom in to focus on the impact we are able to have with the assets we have access to. Then we’ll start to Design the organisation in terms of how it uses resources and generates value, thinking in a regenerative and ecocentric way throughout.

I’ve recently written and spoken about the idea of the Possible Museum, or any cultural organisation that is more eco-centric, socially just and future-facing. I outlined an ethical path for such an organisation:

It will take a ‘Possitopian’ approach, not being stuck in either wishful Utopian or despairing Dystopian positions about the future, but look imaginatively and openly at the widest cone of possibility.

By looking honestly at what is happening in the world, and imagining the future, this organisation will see that the path of relevance is an ethical one.

  • It will proactively work with communities to shift towards more regenerative and circular economies.

  • It will explore ethical and participatory forms of entrepreneurship in order to sustain itself when or where public funding dries up.

  • It will provide safe, inclusive spaces for envisaging possible futures, for learning from past and indigenous cultures and from the capacities of nature, and for helping communities take action for eco-social justice.

These will be the principles to underpin our thinking as we dream up Flow Experience, and build on our 12 years of work to become an organisation that services and supports others to create a Possible Culture.

Bridget McKenzie, Flow and Climate Museum UK

Follow Bridget on twitter and find out more about Climate Museum UK here.

Create the Perfect Freelance Brief

With the aim of encouraging positive working relationships between organisations and freelancers, Lyndsey Clark and Marge Ainsley shared five freelance brief mistakes (and how to avoid them) at the 2017 Museums Association (MA) Conference in Manchester. This blog is a summary of their top tips written originally for the MA Blog.

Mistake 1: The Impossible Brief

We often see too many deliverables within the time and budget available. But how can you know what’s realistic? One way is to be less prescriptive in terms of the tasks and provide a budget. Or, if you do want to be prescriptive about the tasks, let us tell you how long it’ll take and the cost.

On the topic of rates, if you really don’t know where to start some organisations have published minimum rates online for copywriters, visual artists and some others. You’ll also find various resources on the HLF Forum. There’s a useful article available from BIG, the STEM Communicators Network, which relates freelance day rates to equivalent employee salaries which should help you budget.

Mistake 2: The PAYE-in-disguise Brief

Sometimes we see a freelance contract advertised that looks suspiciously like a job. But how do you know the difference? First, think about why you want a freelancer. Three main reasons are; to access expertise for a specific task, to add capacity for a specific period, or to get an external point of view (for example evaluation).

Businesses must ensure all their employees get holidays and sick pay, have a pension and are paying tax. Therefore HMRC is strict about who can be declared freelance and publish guidance online. A freelance relationship should have benefits to both parties. If all the benefit is to the organisation, then you may be acting illegally or unethically.

Mistake 3: The Need it Now Brief

Most freelancers plan work at least three months ahead so get your brief on our radar as soon as possible. Think carefully about when to send it out (avoiding key holiday periods) and at what stage of your project you need someone. Sometimes organisations expect work to be completed at very short notice. Do allow enough time for the freelancer to complete the tasks and remember a good freelancer won’t be able to work on your project 24/7 because they will have other clients.

Mistake 4: The Vague Brief

To get the best from your freelance appointment, you need to know what you want them to do for you. Give context about your organisation and project. Think about the work you want done and be clear in your own mind about what success would look like. Don’t make a freelancer guess if you already have a specific methodology or output in mind but do be willing to accept input. Know and communicate who the freelancer will communicate with and who will manage them, and most importantly who makes the decisions.

Mistake 5: The Krypton Factor Brief

It’s important to create a simple and straightforward application process. Think carefully about what you need to know to find the best match person for your needs. Check your requests makes sense to external people. For example, is the level of public liability insurance requested really required for the job? Please don’t ask the freelancer to complete the first part of the actual work as part of the proposal. Instead, ask for evidence of previous work and references, or set budget aside to pay for creative responses.

Now you have your perfect freelance brief. How do you find a freelancer?

Most freelancers get work by word of mouth. If you don’t know who to ask, speak to colleagues and your local networks. Use email lists; GEM, VSG and MCG jiscmail lists are popular. There’s also a LinkedIn group for the Museum Freelance Network where contracts can be posted.

Best of luck with your project or role, and feel free to contact either of us or the freelance network with any questions.


GDPR and freelancers

[reblog from Christina, co-founder, Museum Freelance Network]

I hosted a Twitter chat on the Museum Freelance account about the upcoming GDPR (General Data Protection Regulation) legislation that comes into force on 25 May 2018 (search for #museumfreelance).

The legislation was “designed to harmonize data privacy laws across Europe, to protect and empower all EU citizens data privacy and to reshape the way organizations across the region approach data privacy” (

I’ve got to admit, it’s at times like these that I wish I was back in an organisation where someone else could take responsibility for trawling through the details, breaking it down into something meaningful and relevant for the organisation and where the workload for implementation was shared with colleagues. But I’m not, so I can’t – the buck stops with me! And really embracing it is the way forward – seeing it as an opportunity to tidy up, question what you are doing and why, and plan your approach going forward.

Many freelancers I’ve spoken to have been concerned, baffled or intimidated (or head-in-sanding) about the new legislation and its impact on how they run their business. And also it’s clear that the legislation is being interpreted in many different ways. So having been recommended a GDPR expert in the Facebook group GDPR – Shared Resources, I set up a Twitter chat to tackle questions specifically about GDPR and freelancers. A big thank you to Annabel Kaye, founder of Irenicon (a specialist HR and employment law consultancy) for joining us and answering our questions. Annabel has spent the last 18 months helping micropreneurs get ready for GDPR and runs a number of dedicated GDPR support groups you can join.

My main takeaways from the session were:

  • don’t delay, get prepared
  • start with an audit
  • what you do needs to be relevant to your business – templates or a one-size-all approach isn’t what it’s about (although they might be a helpful starting point)
  • it’s something you will need to revisit and work on as your business evolves
  • the 3Ss: “Seek only what you really need. Secure it and don’t share it unless people know you are.”
  • “Treat people’s data with respect, secure it and don’t abuse it.”
  • “It’s a mindset, not a checklist at the end of the day.”

Below are the questions we put to Annabel and her answers. Please bear in mind this is general guidance and Annabel doesn’t know your individual situations, so we do not accept any liability for any reliance you place on the guidance. At the end are some links to additional resources you might find useful.

What are your top tips for freelancers who don’t know where to start and/or feel overwhelmed by GDPR?

“Just start with working out what information you hold where – it is called a map or audit but it doesn’t have to be tricky.”

Are there resources that take you through a step-by-step guide of what businesses need to do in order to be GDPR-compliant that you recommend?

“We have a free checklist aimed a micropreneurs, solopreneurs and freelancers. It comes free if you sign up via  there is a pop up. You can unsubscribe after if you want to.”

The ICO documents and advice feels very ‘large scale’ business focused – e.g. freelancers aren’t going to employ a data protection officer. How can sole traders best distil it down to something manageable and relevant?

“Remember 3 Ss. Seek only what you really need. Secure it and don’t share it unless people know you are. Treat people’s data with respect, secure it and don’t abuse it. It’s a mindset change not a hundred policies and checklists.”

What’s ‘reasonable’ when it comes to making sure that freelancers are compliant with sufficient measures in place? Is there a minimum ‘line’? Are there real risks of being fined?

“ICO has said year 1 they will be advising rather than fining. Like speeding tickets, you may find you don’t get a ticket ever or you could be the poor person that gets one. It won’t be instant.”

Do freelancers need some kind of privacy statement on their websites and email footers? If so, where can we go for guidance on this?

“You can write your own or buy one but be careful some are way too complicated for solopreneurs. We work with our GDPR groups to create ones that reflect how a particular industry works.”

“ICO guidance is really aimed at complex organisations with lots of data collection. Over the top for many tiny solopreneurs.”

“Privacy statements are needed but they don’t have to be long complicated documents.”

Do I need to encrypt my laptops or at least set up a password for particular folders that contain any personal data that I have e.g. from market research?

“Advise you to encrypt laptop and to set up separate spaces for personal work related data and your own personal use.”

“We did a free webinar on encryption a while ago.

“Templates are not sticking plasters they have to reflect what you are doing and how you are doing it. In our groups we work together to create appropriate ones. But they don’t suit all ways of working.

Does my cloud storage need to have its servers in the UK and if so which clouds are acceptable (someone has suggested that Dropbox is not?) And linked to this: a freelancer has been advised that their online survey tools should have their servers in the UK, is this correct? In which case they’ve been told SurveyMonkey is not ok?

“Your cloud storage needs to be in a country the EU designate as having adequate regulation. This is all of EU/EEA. USA is only OK with the addition of the US Data Privacy Shield. You need to let people know if their data is leaving the EU/EEA but not prohibited if transparent.”

“Dropbox have Data Privacy Shield and now agree all packages will be secure. You still need to let people know if you are exporting their data and sometimes you need specific consent.”

“Servers in other countries can be used if EU views country as having secure laws (there is a list) and if contract provides for security – again as long as individual knows before completing survey data is going outside EU/EEA.”

What key things should freelancers working in research and evaluation fields be mindful of? Especially when collecting personal data through surveys/how will prize draw rules be changing?

“Minimise, anonymise, secure should be your mantra.”

“The client is the ‘data controller’ and is responsible. You are the ‘data processor’ when doing research and are also responsible.”

“The client should design to minimise data privacy impact and anonymise. Unless it is your job to design in which case you should.”

“Prize draws already covered by lottery regulations and existing marketing rules (PECR) – often ignored!”

“Approach with caution and customise your request. ICO site has some samples but they are not very marketing friendly.

Are there time limits for storing personal details from people who have booked onto an event or taken part in research, or how do we judge when to delete?

“Store data no longer than necessary. Some have fixed time limits – eg HMRC tax related data.”

“Sometimes your insurer requires you to keep for a particular time.”

“If the research builds up over years or decades you will need to keep it to enable the work to be completed.”

“Your ‘data retention’ period(s) should be decided in relation to your legal obligations, your contractual and insurance obligations and the natural cycle of your work. Don’t hoard stuff in case it comes in useful.”

“The more data you keep the more you have to secure, store, and sometimes update since you have an obligation to keep it accurate (probably not if doing historic research).”

Do freelancers need a written-down policy to show what measures they are taking to be #GDPR compliant?

“You should keep a record of your data audit/map and what you have done to secure your data, restrict it or otherwise comply with #gdpr. That is not a policy but a record.”

“A GDPR is a process not a policy. You will need to revisit your decisions and data map as your business changes and grows. It’s a mindset, not a checklist at the end of the day.”

Additional resources on GDPR that freelancers might find useful:

If anyone else has any guides or tips they’d like to share that I can share with the Museum Freelance Network, please get in touch.


Resilient Freelancing - our second MF event

Following the success of the first ever Museum Freelance event back in March about Proactive, Empowered and Confident Freelancing, I’m really excited to be organising the follow-up. This time the theme is Resilient Freelancing – ‘resilient’ is a word banded about so frequently in the culture sector, but we wanted to explore what it means for a freelancer. What makes a freelancer resilient? What makes there business resilient?

In what promises to be an inspiring and thought-provoking session, speakers and the topics they will explore include:

  • Christopher Barnatt, Futurist, ExplainingTheFuture.comkey future challenges and opportunities that no museum freelancer will be able to ignore;
  • Mike Ellis, Director, Thirty 8the tools and techniques that are useful in helping freelancers to balance their working lives and ultimately find time to do things other than work;
  • Elizabeth Power, Head of Learning, London Transport Museum: a client’s point of view about what clients look for in freelancers;
  • Bridget McKenzie, Director, Flow Associateshow freelancers can be more effective in relating to others;
  • Ben Matthews, Director, Montfort: ideas and inspiration to break the cycle of trading time for services delivered, create regular recurring work, and increase your value to your clients.

Marge Ainsley will also facilitate a series of bitesize talks from freelancers as they share what tools, tips and lessons have made them resilient, and an optional social session at the end of the day.

For the full programme and to book please visit: The early bird rate until 15 December: £70, after which tickets are £90.

We are funding 4 free places for the participants on the Young Freelancers programme. Thanks to support from Montfort and Laura Crossley, there are also 3 free spaces with travel expenses paid for available, with the aim of increasing the diversity of participants and museum freelancers generally. For more information and to apply please visit:

Hope to see you there!

Museum Freelance Event Success

I originally wrote this blog post about the first Museum Freelance event day for the London Museums Group. To find out more about the event it’s worth checking out the Storify capturing the day’s tweets that Marge Ainsley kindly did, and also her insightful reflections on the day.

Fellow freelancer Laura Crossley and I founded the Museum Freelance Network following a #museumhour chat I guest-hosted in the summer of 2016 on freelancing. It seemed there was an interest and demand for some kind of platform for freelancers working in and with museums to come together, learn from each other, share ideas, jobs and issues.

We began with the @MuseumFreelance Twitter account, #museumfreelance discussion hours on Twitter, a LinkedIn group (now with 350 members) and an orange logo with a teapot!

Fast forward 18 months and I’ve just run our first event, with 52 freelancers and people thinking of freelancing attending. Entitled Proactive, Empowered and Confident Freelancing, it aimed to plug a gap in the market by providing high quality, relevant and good value training and time for reflection, organised by freelancers for freelancers and covering some of the main topics that regularly come up in our Twitter discussions. 

Two external speakers and trainers delivered sessions on how to get the most out of networking (Joanna Gaudoin from Inside Out Image), and making the time to think and plan what you want to get out of your freelancing business (Anna Lundberg from One Step Outside). We also heard about the UK’s freelancing landscape from Lydia Wakefield from the Association of Independent Professionals and the Self-Employed (IPSE), advice from Helen Wilkinson from the Association of Independent Museumsand from Tamsin Russell at the Museums Association (MA) about how the MA is planning to support freelancers in the coming years. In a ‘lightning talks’ session we enjoyed five punchy presentations from freelancers Dana AndrewHamish MacGillivray, Alex Homfray, Padmini Broomfield and Charlotte Tupper, hosted by Marge Ainsley. The event was priced more affordably than typical similar events, with a range of discounts for the Young Freelancers group, early birds, people who had helped with research and were helping run the event on the day. We also started later and finished earlier to allow more people to travel off-peak and do school runs or make other commitments.

Although I had done research with museum freelancers about their needs and tweaked the programme as a result, it was still a bit of a leap of faith and personal financial gamble and I had no idea how many people would come.

Fortunately however, the event seemed to resonate and we had a brilliant diverse mix of freelancers – from new to very experienced – and potential freelancers from across the country, covering almost every area of museums work and expertise.

For me it was a hugely rewarding day which met and exceeded my hopes. Hearing people connect, contribute ideas and questions, seeing reflections being shared on Twitter (see #mfconf17), reading and hearing all the positive feedback and the appetite for more was brilliant. Some of the feedback has included:

  • “It was a very friendly, supportive event. I was so pleased to see it advertised as I am considering freelancing but assumed getting any advice would be hard. I assumed it would be more of a closed and competitive world!”
  • “On the way home I looked through my notes from the day and wrote 15 things to do. Sign of a useful day! Thank you for organising!”
  • “I started the day thinking “I need to make a plan” for my freelance practice. By the end of Anna’s session I had one!”

We will now look at the evaluation that’s coming through, take stock and see how we can build on this day. I certainly have ambitious plans for what the Museum Freelance Network can become as the number of freelancers in the sector continues to grow. Watch this space!

Below are some reflections and insights from three of the event’s delegates:

Heidi Hollis, writer / editor / interpreter / creative collaborator,

The sun shone on our gathering on the waterside at the London Canal Museum. As someone returning to the sector, I enjoyed meeting a wide range of people – some just considering freelancing, some well-established consultants. I watched as two long-established colleagues, connected often by Twitter, finally and joyfully met for the first time!

Two big themes emerged for me:

1) Partnership – collaborative relationships with other freelancers help everyone – gaps in bids are filled and the skill package expanded.

2) Approach with care – in networking with other professionals, and in the gentle work of boosting a museum out of a risk-averse mentality, we perform a delicate balance of firm but flexible, strong but vulnerable, nurturing but fiercely creative in our approach to the work … when the work flows, we have the opportunity together to create something truly inspiring and astonishing.

Kathleen Lawther, Curator & Freelance Consultant,

I attended the conference with the help of a CPD bursary from the South East Museum Development Programme. I’ve worked in museums around the South East for several years, and having taken a new part-time employed role at the beginning of 2017, I am keen to develop a freelancing portfolio to round out my work. For me, as a beginner, the most useful thing about the event was the chance to talk to so many more experienced freelancers in a relaxed and supportive environment. I also found the networking and ‘how to get what you want from your freelancing business’ talks really useful, as most of the CPD I have done is focused on museum-specific skills, and working on these kind of personal skills is so important in developing my offer and my effectiveness as a freelancer.

Ben Couture, exhibition designer Jardine Couture Limited,

The speakers covered a breadth of subject matter, centred on the growing tribe of freelancers within museums, and offered encouraging and informative content therein. Lydia Wakefield from IPSE (an NPA with 20k members) told us about their good work, lobbying and supporting the self-employed from all areas of industry. Coaches Joanna Gaudoin and Anna Lundberg gave a host of tips to ensure we were all presenting our best selves and suitably assessing life/work priorities.

Some excellent insight came from the quick-fire ‘Lighting talks’ giving condensed experiences from a range of practitioners, with refreshingly honest accounts from freelancers Padmini Broomfield and Charlotte Tupper. Of particular interest was the presentation by Helen Wilkinson from AIM (Association of Independent Museums) touching on the subject of organisational change, and musing the subject of trust and credibility – and how suppliers (enablers) can benefit from building a stronger methodology within their work.

The day as a whole provided the opportunity to meet a wide range of specialists (curators, educators, archivists, conservators, marketers, designers, consultants) – probably enough to start a museum.

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