Wildscreen Emerging Talent Month: How To Survive As A Freelancer

It’s no surprise that the freelancer business is a competitive one. You’re up against the masses trying to score your next gig and take the next steps you need to curate the natural history career you dream of.  But how can you make sure you stand out from the crowd? And how can you better know your worth and present your skillset in the best way to land you your next big job?

This Emerging Talent month we asked TV’s go-to headhunter Kimberly Godbolt to share her top tips on surviving the industry as a freelancer. Here’s what she said…

If you had to sum it up, what do you believe are the top three qualities that make for a successful freelancer in the natural history industry?

Persistence, adaptability, and genuine passion – in that order. This industry rewards those who don’t take ‘no’ as the end of a conversation, who can pivot when the shoot suddenly needs to relocate to the Arctic, and who genuinely care about the stories they’re telling. I’ve seen technically brilliant people washout because they lacked persistence, while passionate grafters with decent skills often rise to the top through sheer determination. Natural history is particularly demanding – you can’t tell a leopard to hit its mark or reshoot a rare migration – so adaptability isn’t just useful, it’s essential.

As someone who’s worked as a freelancer before moving into hiring management, what are some things you wish you knew then that seem obvious to you now on the other side of the market, and what are some of the key components you personally look out for in the search for new talent?

When I was freelancing, I was not the best at maintaining my network during busy periods – then desperately trying to reconnect when a project ended. Now I see how transparent that looks from the hiring side! The freelancers who stay on my radar are those who periodically check in without needing anything. Additionally, I wish I’d known how much hiring managers value problem-solvers over perfectionists. When reviewing applications now, I’m looking for people who highlight challenges they’ve overcome rather than just listing prestigious credits. Oh, and never underestimate how small this industry really is – your reputation follows you everywhere, for better or worse.

What skillsets might emerging freelancers not realise are currently well-sought after in the industry and should be working to expand their personal development and skillset to include?

Technical versatility is criminally undervalued in our creative space. Productions increasingly need people who can shoot decent recce footage, cut their own sizzles, or quickly edit highlights for stakeholder updates. Being able to say ‘I’ll grab some usable footage while I’m scouting’ or ‘I can put together a quick taster from what we shot today’ makes you exponentially more valuable on lean productions. Another gold-dust skill? Marketing yourself as a distinct brand. This isn’t about flashy logos – it’s about clearly communicating your unique approach and value proposition in an oversaturated market. And lastly, while everyone focuses on the technical side, intercultural communication skills are increasingly crucial as productions span multiple countries and cultures. Being able to navigate different working styles and cultural expectations can set you apart dramatically.

When looking for work, approaching clients can be daunting, what techniques do you recommend when trying to strike up new professional relationships, and how often is it appropriate to follow up?

Make your initial outreach specific and relevant – ‘I loved your recent series on urban wildlife and noticed you used some unique macro techniques I’ve been developing’ will get my attention far more than ‘I’m looking for work.’ When following up, I personally appreciate the two-week rule – one follow-up two weeks after initial contact is professional; three follow-ups in a week feels desperate. And don’t overlook industry events and festivals – they’re goldmines for organic connections. I’ve hired more people from casual chats at Wildscreen than from cold emails. Be genuine, be curious about others’ work, and the networking will happen naturally.

What role does social media play in the freelancing world?

Social media is no longer optional, but it doesn’t have to be painful either. The key is consistency over frequency – better to post thoughtful content monthly than forgettable content daily. What works beautifully is sharing your genuine curiosity and behind-the-scenes insights rather than just finished products. A junior researcher showing their fascination with a particular species or editing challenge gives me more insight into how they think than a polished showreel alone. Remember, we hire humans, not portfolios. And don’t just broadcast – engage with others in the industry. Commenting thoughtfully on a wildlife cinematographer’s post about their challenging shoot in Madagascar tells me you’re invested in the community, not just your next gig.

You mentioned during the ‘Navigating the Freelancer World’ panel at Wildscreen Festival 2024 that the gender pay gap has a large disparity in the freelancing world, with most women not charging enough as their day rates in comparison to men.

For emerging freelancers who are unsure of their own professional worth, what advice would you give them to better understand how to confidently value their own work and set a viable day rate that matches their capabilities and experience?

Research, research, research – and then add 20%. I regularly see women pitch rates that are significantly below industry standard, while men with similar experience aim high and expect negotiation. Talk openly with trusted colleagues about rates – secrecy only perpetuates inequality. If you’re unsure, organisations like BECTU publish rate guidelines that provide a solid baseline. And remember, your rate reflects not just the hours you work but your expertise, equipment depreciation, and the fact that freelancers don’t get sick pay or holiday. When clients push back on your rate, don’t immediately discount – instead ask what specific elements of the budget are challenging and look for creative solutions. Sometimes reducing shoot days or finding other efficiencies can maintain your rate while helping their bottom line.

When building a portfolio of experience in the freelancing world, would you say that having a professional niche hinders or helps your chances of getting work? Is it better in this case to be the jack of all trades or master of one?

Early on, be the curious generalist who’s eager to learn; mid-career, start developing your specialist edge. I’ve noticed a clear pattern: productions first hire specialists who are absolutely essential – the aerial drone operator who can capture that specific behaviour, the location sound recordist who knows how to mic up rainforest environments. Then they fill remaining roles with talented generalists. The sweet spot tends to be having broad capabilities with one or two genuine specialisms that make you the go-to person for certain challenges. In natural history particularly, having a recognised specialism – whether it’s underwater filming, behaviour prediction, or even knowledge of a specific ecosystem – can make you the first name on the call sheet for certain productions.

Many freelancers will often be supplementing their industry work with additional jobs as a means of staying afloat, are there ways to utilise these experiences in the pursuit of genre-specific work, or is it better not to showcase side-stepping between industries?

How should emerging freelancers be tailoring their CVs to showcase this?

Absolutely leverage those seemingly unrelated experiences! Some of the best researchers I’ve hired came from journalism or academic backgrounds, bringing fresh perspectives to storytelling. The key is translating those experiences into relevant skills – waiting tables taught you to remain composed under pressure and manage multiple priorities; retail honed your ability to quickly build rapport with strangers, which translates to contributor management. For CVs, I recommend having a master document with everything, then creating tailored versions that emphasize relevant experience for each application. And be upfront but positive about gaps or side-steps – ‘Between productions, I expanded my skill set through science writing for environmental organisations’ sounds a lot better than trying to hide those periods. Also, if you were on maternity leave – state it and be proud! Nothing more important than raising small humans, I can tell you from my own experience 😉

Any last words of wisdom?

This industry rewards the resilient and the genuinely curious. There will be gaps between projects, challenging personalities, and shoots gone sideways – how you handle those moments defines your career more than your credits. Stay curious about the world, about storytelling techniques, about the business side of production. The freelancers who thrive long-term aren’t just technically skilled – they’re constantly evolving, generously collaborative, and fundamentally kind human beings. And remember, in an industry that often glorifies burnout, maintaining your wellbeing isn’t just good for you – it makes you better at your job. The best stories come from balanced, engaged minds, not exhausted ones.

About Kimberly:

When you need talent for premium content, Kimberly’s the one with the little black book of TV’s most respected professionals. As joint MD of executive search company Talented People, she’s the behind-the-scenes maestro connecting exceptional creative talent with the industry’s top content creators.

Before becoming TV’s go-to headhunter, Kimberly spent years globe-trotting as an award-winning Producer/Director, crafting popular factual series and documentaries for Channel 4, BBC, ITV, and Channel 5. But she saw an opportunity to do staffing differently – with more heart, more humanity, and the insider knowledge only a seasoned creative can bring.

Since founding Talented People with Rosie Turner in 2017, Kimberly’s been placing premium talent everywhere from Netflix to YouTube, championing ethical hiring practices that actually respect freelancers’ time and talent. Her approach? Turning recruitment from a headache into something genuinely creative.

When she’s not matching Showrunners with broadcasters or finding the perfect Creative Director for that production company role, you’ll catch her hosting The Imposter Club podcast – the industry’s therapy session for anyone who’s ever doubted themselves (which, let’s face it, is all of us).