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Freelancing in the Creative Industries


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Table of Contents

Preface: How to use this bookPART A: Contextualising Your Artistic PassionChapter 1: Starting out with visionThinking Creatively Why is Creativity Important? Generating new ideasWorking Creatively Knowing the way you work best Finding the right directionCASE STUDY: Isobel KnowlesChapter 2: Researching the Creative IndustriesResearching the creative industries Defining creative industries Contributions of the Creative Industries The value of knowing the numbers Industry peak bodies and service organisations Key government organisations Research and industry institutions Venues and distributionResearching Peers, Mentors and Communities Communities of Practice Networks Mentor Role and PurposeFinding the right information CASE STUDY: Aimee SmithChapter 3: Ways of WorkingStructures Working individually Don't give up your day job?Ways of Working Well with Others Choosing the right communication channel Running effective meetings Negotiation skills Resolving conflicts Ground rules for teamsDealing with stressTime management Keeping on track with your goals Learning how you spend your time Working with your personal rhythms Interruptions Strategies for managing your time The reality of administrationPART B: Convincing Others of Your VisionChapter 4: Communicating your creative practiceCommunicating your practice Defining communication Communication channelsKnowing Your Audience What is market research? Identifying your targeted market Knowing your environment Knowing your audience Standing out from the competitionCommunicating Your Vision Capability statement Artist statementCommunicating your practice online Websites Social media and the creative artist Other online networksCASE STUDY: Benjamin LawChapter 5: Convincing OthersGetting your foot in the doorPitching Preparing your pitch The presentation What is an elevator pitch? Written pitchesProposals - grants and sponsorships The grant proposal Seeking out sponsorships How is Your Practice Different? Unique approach Price Poorly served audience ExpertiseAre you ready for a niche?Part C Leaping Into Creative ActionChapter 6: Setting up arts projectsArts Project Management for Freelancers Developing the project concept Scoping the project Scoping funding optionsManaging Arts Projects Stage 1: Defining the arts project Stage 2: Planning the arts project Stage 3: Implementing the arts project Stage 4: Evaluating the arts projectCommon Project Issues Timelines and deadlines Changes to resources in the project plan Changes to project objectives Success factors in arts project managementCASE STUDY: Clare PoppiChapter 7: Arts MarketingContextDefining Arts Marketing Supply and Demand Structure of a Marketing PlanStrategic Marketing SWOT analysis Strategic marketing objectivesArts Marketing 4Ps: Product, Place, Price, Promotion Product Place Price PromotionBudgeting for Marketing Setting the marketing budget Elements of a marketing budget Marketing Budget - Promotion Top tips for promotion budgetsCASE STUDY: David FinniganChapter 8: Planning the MoneyFinancial SkillsFinancial Planning for your Freelance Practice Financial Planning Financial Reporting Budgeting Financial termsBudgeting your Projects Starting a Project - Budget Costing and PricingRaising an Income Fundraising Sponsorship Arts grant-giving organisations PhilanthropyCASE STUDY: Tim Syrota Chapter 9: Planning for ExpansionIdentifying Skills for GrowthComplex Project Skills Managing an event Reviewing venues and spaces Contingency planningGetting it Right Legally Obtaining a tax file number Australian Business Number (ABN) & GST registration Intellectual property Ethics Occupational Health and Safety (OHS) Insurance Conditions and contractsBusiness Skills Setting up a business structure Setting up administrative systems Training and professional development Change and a small arts enterpriseCASE STUDY: Zoe PepperChapter 10: Career optionsCreative Industries Careers Arts employment research Practical models for an arts careerMeasuring value - creative, artistic, financial Economic and cultural value, and creative industries Value of communities of creativityReviewing/renewing the vision Niche and difference Funding options Networks and mentors The case for creativity as a career Changing career directions Artist as change agentCASE STUDY: Jonathan Wilson

About the Author

Karen Le Rossignol is a Senior Lecturer, School of Communication & Creative Arts, Deakin University. Claire Wilson is a freelance non-fiction writer and poet who has worked with various international and non-profit organisations both in Australia and overseas.

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