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.
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.
I am a freelance programmer so I am flexible about my working hours and have quite a lot of free time.
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.
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 struggling, I was hungry, I was a freelance copy editor but had very little work.
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.
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.