Freelance Quotes

I’m a novelist, editor, short story writer. I also teach, and I freelance sometimes as an arts consultant. Most of my books have been published by Warner Books, now known as Grand Central Books.

I freelance as a sports broadcaster.

Between 1950 and 1951, I worked as a temporary employee in the Cologne Bureau of Statistics. From summer 1951 on, I have lived as a freelance writer with a fixed postal address in Cologne but with a continually shifting place of work.

I’ve lived a life of unplanned freelance employment.

I greatly enjoyed working as a freelance journalist, because it gets you out of the house, and it gets you talking to people, but it wasn’t satisfying all of my cravings, and I knew that I needed to work with the other side of my brain – the darker, murkier side!

My father was a freelance writer/director/producer, and my mother was a stewardess for Pan-Am. It was very non-traditional.

The life of the professional writer – like that of any freelance, whether she be a plumber or a podiatrist – is predicated on willpower. Without it there simply wouldn’t be any remuneration, period.

I went freelance in 1996 and my children are now teenagers and it seemed right.

I was doing well in TV as a freelance cameraman, but it wasn’t the direction I wanted to go in. I directed videos and tried to put something cinematic in every one. Dialogue, action sequences, helicopter, Steadicam.

Acting is a freelance career… you never stop having to prove yourself and fight for work.

For the vast majority of my adult life, I was a freelance writer, forever scrambling for work that paid an insulting non-amount.

For the vast majority of my adult life, I was a freelance writer, forever scrambling for work that paid an insulting non-amount.

I wanted to work strictly as a freelance actor, and that’s the way it turned out.

The worst thing about being a freelance film director is that you’re scrambling around Soho with a briefcase, looking for somewhere to make phone calls. That was my position for 10 years.

Atari collapsed in ’84, and I went freelance, and that was when I started spreading out and doing my own thing. I really cut loose and did a game called ‘Trust and Betrayal’, which was the first game solely about interpersonal relationships.

I think that one of the strangest things about being an actor is, it’s almost freelance work.

I have a fear of poverty in old age. I have this vision of myself living in a skip and eating cat food. It’s because I’m freelance, and I’ve never had a proper job. I don’t have a pension, and my savings are dwindling. I always thought someone would just come along and look after me.

I opted for a freelance writing career. I was lucky enough to have the means to do it.

I got asked by a freelance journalist to jump in front of Princess Diana’s funeral. How pathetic is that? That would have been the stupidest thing on the planet.

There’s a cumulative effect to getting good parts as a freelance actor, because you’re only as good as your last job, and you have to keep going out and getting them. Unless you’re part of the finance structure, by which I mean a bankable star, which I never was and never will be.

Constant rejection. No security. Career paths being dictated by freelance reviewers. And of course, the terror of the writing desk, of the blank page. Why is it so hard for our non-writer friends to understand this – that it’s a job?

Old age treats freelance writers pretty gently.

I went to Aspen right after school and got a freelance gig writing articles for the ‘Aspen Times.’ I was their nightlife correspondent. They paid me fifty bucks an article.

I’m a freelance writer, and I work alone at a big desk in the living room of my apartment. There are many days when I don’t utter a single word to anyone but my husband.

I went to Aspen right after school and got a freelance gig writing articles for the ‘Aspen Times.’ I was their nightlife correspondent. They paid me fifty bucks an article.

I am a freelance programmer so I am flexible about my working hours and have quite a lot of free time.

It was my very good fortune to find a mentor, Clay Felker, who started my career at the ‘New York Magazine’ as a freelance writer when I had to quit my job at the ‘Herald Tribune’ to stay home with my young daughter.

I’ve always worked in cinemas or cafes to make money because it turns out freelance journalism is quite hard to get into.

I got asked by a freelance journalist to jump in front of Princess Diana’s funeral. How pathetic is that? That would have been the stupidest thing on the planet.

The worst thing about being a freelance film director is that you’re scrambling around Soho with a briefcase, looking for somewhere to make phone calls. That was my position for 10 years.

We started Good Neighbor in like 2006? Right around the time that Kyle graduated college. And I was doing freelance editing.

When I left 20th Century-Fox to freelance, my agent believed that getting big money was the way to establish real importance in our industry.

I was struggling, I was hungry, I was a freelance copy editor but had very little work.

The life of the professional writer – like that of any freelance, whether she be a plumber or a podiatrist – is predicated on willpower. Without it there simply wouldn’t be any remuneration, period.

For 14 years I had that run in Canada as a newscaster. When I decided to quit in 1953 I was making more money than the prime minister. Then I was a freelance actor for six years in Canada, the U.S., and England. Then ‘Bonanza’ came along and I had another 14 year run.

It was daunting, giving up a regular job for a freelance world, where every day off is a day of unemployment and you are conscious you are not earning. But it was time to take a gamble and see what’s on the other side.

I applied for ‘Korea’s Next Top Model 2’ when I was a freelance model, but I dropped out right after making it to the top 30. It left a resentment in my heart.

The only really committed artist is he who, without refusing to take part in the combat, at least refuses to join the regular armies and remains a freelance.

Like a lot of freelance cartoonists, when any opportunity like that comes along, I have a hard time saying no, whether it makes sense or not.

I became a freelance stylist to survive, and then I had a kid. I bankrupted in 1988 and had a kid in 1990.

In 1975, I quit my tenure, and we moved from Ann Arbor to New Hampshire. It was daunting to pay for groceries and the mortgage by freelance writing – but it worked, and I loved doing it.

When you’re a freelance director, you are hired to create the art, and it kind of stops there.

I was freelance proof-reading, freelance editing, creating illustrated slides for doctors’ presentations – just so I’d have enough money to take the time to write. That’s how I got by.

If you dig deep and keep peeling the onion, artists and freelance writers are the leaders in society – the people who start to get new ideas out.

Accompanied by an Australian photographer named Nigel Brennan, I’d gone to Somalia to work as a freelance journalist, on a trip that was meant to last only ten days.

I worked on ‘Blue Peter’ and ‘Tonight’ and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I’d had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.

It’s not that I’m apolitical… In my youth, I was a freelance political speechwriter, which taught me a lot about writing fiction, I must add.

Soon after I graduated from Columbia University grad school, the war in Iraq started. I was a young freelance journalist with no experience in conflict zones but I wanted to be close to it, so I moved to Syria.

After a couple of years at Vertigo, I realized that if I was going to be a professional artist, I’d have to devote myself to it full time, so I ended up leaving my job there and went freelance.

I am really only interested in new information, not freelance opinion. I don’t really care what you think off the top of your head.

If pro athletes and entertainers want to freelance as political pundits, then they should not be surprised when they’re called out for insulting politicians.

I have to be a freelance writer for the rest of my life, unless I get some kind of real lucky break. But other than that, I’ll always have to work. I always worry about whether my stuff is going to get over. Will they like this, will they like that?

I have a fear of poverty in old age. I have this vision of myself living in a skip and eating cat food. It’s because I’m freelance, and I’ve never had a proper job. I don’t have a pension, and my savings are dwindling. I always thought someone would just come along and look after me.

My life used to be record, tour, record, tour. You can never say no as a freelance musician. I was on the road 200 days a year.

I do work for Impact Wrestling, but I’m just a straight up freelance agent in wrestling. I can work for anybody at any time. Basically every company calls me up.

Accompanied by an Australian photographer named Nigel Brennan, I’d gone to Somalia to work as a freelance journalist, on a trip that was meant to last only ten days.

I was freelancing for years in Cork and around. I also wrote freelance pieces for ‘The Irish Times.’

Atari collapsed in ’84, and I went freelance, and that was when I started spreading out and doing my own thing. I really cut loose and did a game called ‘Trust and Betrayal’, which was the first game solely about interpersonal relationships.

The Hermes scarf is a coveted, much-collected symbol of success that defines the Paris-based luxury company. But it has no single designer. Rather, the scarves are designed by a far-flung array of freelance artists.

The only really committed artist is he who, without refusing to take part in the combat, at least refuses to join the regular armies and remains a freelance.

When I started out doing comedy, I was still in college and was working day jobs. I taught preschool for a few years. And then I got more into freelance writing. So stand-up has always been my primary independent creative mode of expression. I’ve done it my whole adult and young adult life.

I’m a freelance person, and I’ve always been able to support myself.

I’ve never lost that freelance mentality. You can’t take a holiday because you’re worried the work will dry up.

I did a lot of freelance desk publishing jobs when I graduated from college. I sort of earned a living doing that while I was writing plays, which was what I wanted to do. My hope was to become a playwright.

As a freelance artist, you have to please somebody instead of just making music. But when the employer trusts and leans on you to determine what is right for a scene or feeling, that’s ideal.

I hope to submit to the little pamphlet magazines here ‘freelance’ and perhaps shall join the Labour Club, as I really want to become informed on politics, and it seems to have an excellent program. I am definitely not a Conservative, and the Liberals are too vague and close to the latter.

Anybody who is in freelance work, especially artistically, knows that it comes with all the insecurity and the ups and downs. It’s a really frightening life.

When you’re a freelance director, you are hired to create the art, and it kind of stops there.

The biggest mistake is to assume that another writer’s successful strategy will work for you, too. Publishers’ marketers – and even freelance publicists who cost mega bucks – tend to do the same basic things for all books.

Sixteen years as a freelance features journalist taught me that neither the absence of ‘the Muse’ nor the presence of ‘the block’ should be allowed to hinder the orderly progress of a book.

I started freelancing, writing op-eds and book reviews, one at a time. I then got the opportunity to write recurring freelance pieces for ‘The Nation’ magazine, focusing on how the Internet was changing politics.

I knew that you couldn’t make a living simply writing about the outdoors, so I made an effort from the beginning of my freelance career to write about other subjects.

The freelance writer is a man who is paid per piece or per word or perhaps.

For 10 years, I’d been working as a freelance writer and editor, making money but not a living. It was a good arrangement family-wise, allowing me to stay home with our daughter, but not so great financially or, sometimes, ego-wise.

The freelance writer is a man who is paid per piece or per word or perhaps.

Old age treats freelance writers pretty gently.

In my 20s, I was a freelance writer with little money and living in a rabbit warren one-and-a-half-bedroom with a roommate.

My father was a freelance writer/director/producer, and my mother was a stewardess for Pan-Am. It was very non-traditional.

I’ve never had a terrible job. I’ve been a cook, waitress, bookseller, teacher, freelance writer. I know what the bad jobs are, and I haven’t done them.

Between 1950 and 1951, I worked as a temporary employee in the Cologne Bureau of Statistics. From summer 1951 on, I have lived as a freelance writer with a fixed postal address in Cologne but with a continually shifting place of work.

Regardless, I did rise to the editorship before embarking on a freelance career in the late ’60’s.

I’m a freelance writer, and I work alone at a big desk in the living room of my apartment. There are many days when I don’t utter a single word to anyone but my husband.

I am a freelance artiste.

It was my very good fortune to find a mentor, Clay Felker, who started my career at the ‘New York Magazine’ as a freelance writer when I had to quit my job at the ‘Herald Tribune’ to stay home with my young daughter.

For 10 years, I’d been working as a freelance writer and editor, making money but not a living. It was a good arrangement family-wise, allowing me to stay home with our daughter, but not so great financially or, sometimes, ego-wise.

I knew that you couldn’t make a living simply writing about the outdoors, so I made an effort from the beginning of my freelance career to write about other subjects.

I’m only a freelance TV presenter and, in many ways, it’s all just been a massive fluke.

Constant rejection. No security. Career paths being dictated by freelance reviewers. And of course, the terror of the writing desk, of the blank page. Why is it so hard for our non-writer friends to understand this – that it’s a job?