Undercover (2)

Keeping your kit covered

Many freelance creatives have a lot of expensive kit they need insured. This could be laptops, recording equipment and cameras; it could be artists’ materials, props and costumes; or it could be musical instruments or a DJ’s record collection. You may even have a specialist piece or kit for your particular job or act – a unicycle or a puppet theatre, for example.

If losing or damaging these would cripple your finances you must make sure they are adequately insured and will be replaced immediately. You may even need to make sure you can hire an alternative in the short term while you source a replacement.

Find a broker

If you have these sorts of needs you almost certainly need to find an insurance broker to whom you can explain your specific circumstances. Comparison websites and even specialist online business broking services can only currently cope with packaged products with limited add-ons.

Certain brokers will have specialist schemes for different sorts of professionals. David Rogerson of broker Towergate runs a scheme called Camerasure for professional photographers and videographers. The policy is underwritten by Aviva, one of the largest insurers in the country.

This sort of policy not only covers replacing your kit whether it was lost or stolen or accidentally damaged but provides rented kit in the short term and will compensate for any work lost while you are unable to work. It has a range of business covers included that would be useful for a full-time professional.

 Bells and whistles

You’d expect Rogerson to be pushing his “bells and whistles” policy hard but he understands that not every photographer has the same investment in kit or the same income from their work. “Camerasure is for the full pro,” he says. "If you are an amateur who earns a bit and you only have about £5,000 of kit, it might be possible to add that camera kit to your home contents policy. You might also be able to do that even if you are semi-professional.”

Rogerson points out that this sort of compromise might be available to other pieces of kit, including musical instruments. But if you are a full professional using your kit for work every day then a specific business-use policy is likely to be vital.

The cheap solutions are always inferior and you need to understand that when balancing price versus cover. Cheap solutions will have more exclusions and more restrictive warranties – there’s a word to watch for in insurance policies.

 Warranties

We think of a warranty as something that guarantees to repair our newly purchased products should anything go wrong – and it is. But in insurance jargon it has a second, more negative, meaning. A warranty is a restriction the insurer puts in place and you, the insured, must adhere to it for the policy to pay out. This might be that you must lock kit in the boot of a car and not have it on the back seat, for example.

Whichever policy you get always make sure you are clear on any restrictions in place and understand what is and is not covered. A broker might be able to get a particular warranty lifted for you if it is important to you, but this will almost certainly be at a cost.

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Getting paid (1)

Be careful about who you work for

Check out all new clients before you start working for them – avoid the pitfalls of working but not getting paid.

What could be better than getting a new client, you think. Maybe someone rang out of the blue, or emailed, or even called. They saw your name, liked a piece of work or yours, or you were recommended by a colleague – they can even tell you their colleague’s name and you are proud of the connection.

You’re chuffed, flattered, grateful. You could do with a bit more work right now, or you were wondering what you’d do when the current project comes to end. Here’s the answer and you haven’t even had to go looking for it.

But wait. It might be great news, but it might be more trouble than it’s worth. If this is a fly-by-night outfit on one on the verge of bankruptcy, you could be about to commit to working for free with no prospect of ever getting paid.

Credit checks?

Big corporates do credit checks and due diligence before accepting clients. For most of us freelance professionals buying credit reports and seeking references is not realistic. But we can - and should - check out customers before we sign up to work for them. If they don’t pay, or go bust on us, we will have lost out.

Google is your friend. A few minutes should find out a little about this potential new customer. What are people saying about them? Are there any complaints? Check forums, chat rooms, any websites criticising them for not paying their bills or trying to cut down agreed fees after accepting similar work?

Personal contacts are even better – do you know anyone who has worked for them? What were they like to work for, did they pay well and did they pay promptly? Are people still happy to work for them? One reason organisations are often looking for new talent is because they have alienated their old favourites who will not longer work for them – if not, warning bells should sound. Check with your union – have they had to help members squeeze money out of them?

Pay close attention to quickly growing companies or companies that have been, or are being, taken over.

Sooner, rather than later

Do all this before agreeing to work for them – afterwards will be too late. A sensible freelance will also monitor existing customers and review them twice a year. You need to spot if a client is getting into difficulties and adapt accordingly, perhaps billing smaller amounts more often so that, if they do stop paying, you’re left being owed less. Better still, cease working for them before they get into difficulties.

Grade your customers by risk levels and set credit limits and terms for each customer. You might normally expect to be paid 30-days after sending the bill but not every customer has to be treated the same. You might offer to bill monthly instead of weekly, for example, but only if you can be paid within a week. That might save both of you the hassle of dealing with lots of invoices.

There may also be times when you have to ask for payment up front – before you start. This might be part payment in advance and the rest when you finish the job, or, if you are worried about the client, you might ask for full payment in advance. You might even ask clients to apply for credit terms – a child entertainer or magician, for example, might do many jobs based on payment with the booking but have a corporate client that provides regular work who pays on invoice after each performance.

It’s a case of horses for courses.

Inspiring entrepreneurs Dragons’ Den Deborah Meaden and Cath Kidston on setting up a business

To coincide with Global Entrepreneurship Week Nov 15-19 the British Library held a series of free events at the BL Business & IP Centre. These days focused on New Innovations, Social Enterprises and Womens' Enterprises giving business owners the opportunity to talk to specialists in marketing and funding, as well as business coaching and mentoring.

A packed auditorium enjoyed a special panel event Question Time for Entrepreneurs on 19 November with Deborah Meaden (Dragons' Den investor and entrepreneur), Cath Kidston (Cath Kidston Ltd), Tom Bewick (chief executive Enterprise UK), and Brent Hoberman (co-founder lastminute.com and mydeco.com), chaired by broadcaster and journalist Adam Shaw.

The entrepreneurs, © Miranda Gavin
The entrepreneurs enjoy the intro, © Miranda Gavin

The panel answered questions on setting up and growing a business in the current economic climate, including business plans, banking and the benefits of social media, among others. The following excerpts were filmed on my iPhone so the image is a little shaky at first, as it is handheld, but the audio is fine. The entire clip is approx 9 mins long.

In the bar area just before the Question Time panel, © Miranda Gavin