I Don’t Do Dating Sites. But I’ve Flirted With Creative/Client Networks.

“How do you get your clients?”

I’m often asked. “Word of mouth”, I often reply. However opportunities still seem limited. “Get yourself out there”, I hear you say. I’ve got stacks of business cards, none of them mine. I’ve shaken hands with eventually nameless faces at countless events. Online presence? I’m everywhere, even google+ (not Facebook though, my sanity is important. Nonetheless my profile is there too, somewhere). I’m probably doing social networks wrong. Selling myself in that way doesn’t come naturally. I work remotely so it makes sense to take advantage of online networks and potentially broaden my client/work base. But I’m yet to spark a real love affair with a creative/client network.

Then I met Toptal.

…increase your employability or maybe just for kicks — likes, thumbs, hearts, all that jazz.

Before we look at Toptal, I need to explain what I’m calling creative/client networks. So as I alluded to earlier, it’s not LinkedIn, Twitter, Instagram, Flickr or Behance etc. You know, platforms where you show of your work, start a conversation, increase your employability or maybe just for kicks — likes, thumbs, hearts, all that jazz. It’s networks where you as a professional creative can be exposed and connected directly to recruiters, a client or even a customer. So freelancer.com, odesk (now called Upwork), 99designs and Envato. All of which I’ve tried. Don’t get me wrong, these sites WORK, they have huge engaged communities, happy clients, customers and of course satisfied creatives. But something about them doesn’t seem right to me. I’m from the UK, and in school we played ‘SCRAMBLES’. A kid would stand with highly sought after sherbets or a £1 coin. Shout ‘scraaaaambleeeesss’ then throw the goods in the center of the playground. Chaos ensued as every other kid within hearing range, ran, jumped and kicked like herds from a Lion King scene. All with a chance to ‘win’ the prize. Madness. I’d rather ask a friend for a £1.

These sites remind me of Scrambles. Also like scrambles these sites go way back. My first exposure to a network of this nature was OpenAd.com (no longer around). It was introduced at a talk at UAL (University of the Arts London) in 2008. Catarina Skoberne, manager, described the Social Enterprise (before wide usage of the start-up buzzword) as Crowdsourcing. They pursued and convinced their professional network from Film, Music and Gaming studios, Agencies, nationwide and some global brands to sign up. These brands and studios would post their briefs into the ‘playground’. Then creatives (both individuals and agencies) would pitch their ideas, without running and kicking. The pitched ideas went into a gallery with a set licensing price or a price set by the Client. Concepts laid out across spreads on a PDF complete with rational. Before a victorious pitch is selected. Sound familiar? This process still happens today, announced via design blogs and creative news portals. In a way, OpenAd.com was an elaborate middleman/lady. It tried to digitize a process that didn’t need fixing, adding another layer to sourcing creatives or finding the best for the job. I can only imagine license settlement drama.

A freshmen as I had little chance, a chance definitely, but slim. Of course I signed up anyway.

Also it’s attempts to reach new audiences — creatives; failed. Those who’d normally occupy such jobs quickly changed tack to maintain their client base. A freshmen as I had little chance, a chance definitely, but slim. Of course I signed up anyway. Pitched for a few gaming covers. No strategy, just thought it was cool. But was outmaneuvered by seasoned pros. Today the roles are somewhat reversed, now a seasoned pro, I find myself undercut by cheaper remote creatives. Not cheap in standards or output, but cheaper by way of marketplace. The freelancer.co.uk’s of the world have enabled new markets to compete for the same jobs. It’s genuinely a great thing. Companies can work flexibly and remotely with top creatives at very low costs. I want to freelance and want to work remotely, but my environment demands a higher price point. Also I don’t believe the way of a creative should be undervalued. There’s much to our craft — that’s another conversation.

Now we can talk about Toptal. One day I was reading an article on thehustle.co, 80 Million Reasons to Reconsider Remote Working. Breanden Benschott the author, also Toptal’s co-founder and the COO, restored my faith in the online creative/client, employer remote network thing. I signed up. But this time it was far more considered, it had to be. There’s no quick profile set up. Uploading a few samples of work then compete with louder kids in the playground. You have to apply, answer a few questions and upload your resume with links to a portfolio. Then you undergo a screening process, a good few weeks in all. I’m attracted to the Toptal story as much as their platform. It’s presented an opportunity to rub shoulders with the great teams who wrote the kind of briefs back in OpenAd days. Virtual shoulders of course. Join an equally valued creative community. And enjoy the freedom of remote working. If your looking freelance opportunities you should check it out.

Have I found love? Certainly hope so.