Read my book ‘Hip Hop Authenticity and the London Scene’ for free for the next 30 days

hip-hop-authenticity_speersMy publisher Routledge are running a promotional offer where you can access and read my entire book Hip Hop Authenticity and the London Scene for free (RRP £110) for an entire month.

This link will take you to the whole book (enhanced pdf format and mobile friendly):

I hope this initiative attracts readers and students who can’t afford the book and they enjoy reading it.

Feel free to share the link more widely while it is live.


Starting out podcasting

podcast mic

I’ve been wanting to podcast for a few years now. I get really inspired by lots of podcasts and radio shows I hear and have harboured a deep desire to record my own but didn’t know where to start or how to get going. I particularly love Jamie Cullum’s BBC Radio 2 show on Tuesday evenings. It’s only an hour long but packed with amazing old and new music, and informative and original content.

I happened to mention my interest in creating a podcast on music to an old friend called Dooban and it turns out he’d been thinking the same thing and already brought a microphone. We decided to join forces and give it a shot. We’ve recorded four episodes now and I’m looking forward to posting the first one in a few weeks at the beginning of April.

I thought I’d share some tips and experiences of getting a podcast off the ground from scratch as it’s a steep learning curve.

Choose a name, purpose, and intended audience

It’s important to think about branding from the start. I brainstormed loads of names and then checked to see if they were taken on iTunes. We made a shortlist and asked friends and family for feedback before deciding on ‘Main Source’. It’s a nod to our hip-hop roots but also indicates being a source of information and knowledge. The purpose was easy to decide on as we knew from the beginning that the remit of the podcast was going to be based on music and more like a radio show but with talking and factual content.

However, after recording a pilot episode, I realised that we weren’t on the same page regarding the audience. I was aiming my content at a general, non-specialized listener, but it became apparent that Dooban was thinking more in terms of our close friends who are music aficionados and would already know a lot of what we talking about. It was therefore important to have a discussion to pinpoint our intended listenership and pitch the content appropriately.

Get the technology and equipment

You need a microphone and editing software to make a podcast. Luckily Dooban is a DJ and very tech savvy, which has really helped the podcasting process. He’d already purchased a Blue Yeti microphone which is an excellent USB condenser mic that can be set to bi- or omni-directional recording formats. We use Ableton to edit the podcasts, though lots of people have recommended Audacity if you’re new to editing.

Decide on podcast format and plan content

There’s a number of decisions to make about the podcast itself: it’s length, frequency, structure, whether to include ‘features’, and theme music. We decided on an hour in length as that allows a good number of tracks and discussion between two people. We’ve chosen to post monthly as this seems a realistic commitment based on the time and effort required to write, record and edit an hourly episode. Based on our interests and the scope of the show, the monthly podcast features include ‘Cite the Source’ and ‘Fact Off’. This gives a bit of variety to the music-discussion format and plays on our interests. Dooban created a short 20 second jingle as our theme music. There’s lots of websites where you can find free or cheap intro and outro music such as the Free Music Archive.

There’s an incredible amount of preparation that goes into a podcast before recording. I recommend preparing an outline at least, if not some more scripted parts such as the podcast’s ‘opener’ and ‘closer’ for ensuring consistency. Ad-libbing might work for some podcasters but as our content is closely related to the songs we play, we need to do some research and gather facts in advance. We have a google doc file listing all episode ideas and show topics and we prepare a rough script that’s mainly in bullet point form to follow when recording.

Record your podcast

I highly recommend recording a pilot episode. If it goes well, keep it. If it doesn’t, ditch it. We ended up scrapping our first show as it was massively ambitious and we simply had too much content for a one hour episode. This only became clear after a long recording session and an even longer editing attempt. We quickly realised that 10 tracks was a good amount of songs with discussion in between. This also nicely divides the labour between us where we choose five tracks each on the monthly theme and do our research independently.

It can certainly be challenging listening to your own voice, trying to sound relaxed, or fighting a fit of giggles. But the beauty of podcasting is that it is not live so you can edit out any major fluffs. One’s improvement rate is massive after a small amount of practice.

Publish and promote your podcast

We wanted to record three podcasts before sharing them instead of producing them on the fly. This has also allowed us to check the format works, get feedback from friends and family, and also confirm our commitment to the project. We’re going to release our podcasts on MixCloud, the digital audio streaming platform. At the moment, we’re just doing it for fun and not pursuing monetization, but depending on our listenership and audience, we may move to iTunes in the future. We’ll be using our own social media channels to promote the podcast rather than manage an additional twitter/website/facebook stream.

Overall, I’d really recommend podcasting as it can be fun and rewarding. Though I’d also emphasize the significant level of commitment required to make it work. Planning episodes and finding time to record and edit is hard work so make sure the podcast is on something you’re passionate about. Lastly, don’t put off starting/continuing or get discouraged by feedback. Just go for it and enjoy it!

My book is out!

hip-hop-authenticity_speersI’m pleased to announce my book Hip Hop Authenticity and the London Scene has been published by Routledge this week.

Unfortunately, as with most hardback academic publishing, it has a hefty price tag. But the e-book is cheaper and when the paperback comes out, it will dramatically drop in price.

It’s available on amazon here or you can read a substantial amount of it for free on google books here.

The Metropolitan Museum of Art makes 375,000 images available for free


Storm Below Mount Fuji (1830-32) by Katsushika Hokusai

Last week, New York’s Metropolitan Museum of Art announced a new policy which makes all images of public-domain artworks in the Museum’s collection available for free and unrestricted access.

The Creative Commons Zero (CC0) policy means that more than 375,000 images are free for students, scholars and the general public to re-use, remix, and mash-up, in any way they choose, without restriction.

Met’s Chief Digital Officer, Loic Tallon, said: “Adopting the CC0 designation for our images and data is one of the most effective ways the Museum can help audiences gain access to the collection and further its use by educators and students, artists and designers, professionals and hobbyists, as well as creators of all kinds.”

The Met sharing the diverse collection, spanning 5000 years of world culture, is a significant step towards making art open, accessible, and importantly, enjoyable for all. Removing barriers to content and inviting the world to use and remix the collection offers exciting opportunities for creativity, collaboration, and the exchange of knowledge and ideas. The historic artefacts can be used as educational resources across the world, allowing access to both educators and learners.

In our globalised and digitally connected world, maximising the reach of the collection means that anyone with internet access can view, share, and use the artworks. So instead of just the annual 6.7 million visitors to The Met’s three sites in New York City enjoying the artworks, the potential audience can include three billion internet-connected individuals around the globe.

Check out the open access artwork and artefacts on The Met’s website here.

Let’s hope other cultural institutions join The Met in leading the way towards making art, antiquities and cultural heritage freely available to all.


La Orana Maria (1891) Paul Gauguin


Cypresses (1889) Vincent van Gogh


Ruth Richards on Everyday Creativity

multicolor-spiralsWhen we think of creativity we tend to think of Beethoven, Frida Kahlo and Edison and the talent of a select few. Or we fall into the trap of thinking it’s the domain of ‘the arts’ or people who write copy, devise content, or make films for a living.

Psychologist and leading creativity researcher, Ruth Richards, is keen to spread the message that creativity concerns all of us. She argues that humans are born with creative potential and it is fundamental to our survival. Instead of thinking about creativity with a capital ‘C’ and the realm of innovative breakthroughs, she urges us to think about ‘Everyday Creativity’.

Everyday creativity is dispersed across our daily activities from managing interpersonal relationships, raising a child, creating a comfortable living environment, using humour, problem solving, cooking, doing crafts, to structuring leisure and social activities. We are more creative than we think as in our everyday lives, “every choice we make in life is a decision and that decision has a creative basis” (Zausner, 2007: 76).

All too often, everyday creativity is overlooked and subject to the three “U’s”. Our creativity is often underrecognized, underdeveloped, and underrewarded in schools, at work, and at home.

Instead, Richards celebrates everyday creativity and encourages us to reflect more on its potential and to develop it further. In her book Everyday Creativity and New Views of Human Nature (2007), she writes:

Seen as a process, and even a way of life, our everyday creativity offers whole new ways of thinking, of experiencing the world, and experiencing ourselves. It can pull blinders from our eyes, and bring us alive, making us more conscious participants in our lives, aware of the dynamic of life moving about us…It can offer us joy, energy and challenge…We may even have a chance for fundamental transformation.

We need everyday creativity in contemporary life and need to encourage each other to move toward positive change. In short, we can use our everyday creativity to build a better world.


What constitutes a meaningful life as we get older?

being-mortal-coverIn Atul Gawande’s thought-provoking book Being Mortal (2014), he confronts us with the reality of our own mortality through exploring illness, end of life care and death. As a surgeon, he’s witnessed first-hand how modern medicine has become so obsessed with prolonging life that we’ve lost sight of the importance of quality of life and how and where we’d like to spend our last moments. Gawande sets out to challenge the medicalization of ageing and dying and calls for fellow doctors and nurses, as well as the reader, to engage in uncomfortable conversations and face up to what lies ahead of us at the end of our lives.

Through rich and animated descriptions of various hospitals, care homes, institutions and individual case studies, interweaved with moving stories of his own family, Gawande highlights how reluctant we have become to face our own finitude in Western society. It has now reached a point where we allow “our fates to be controlled by the imperatives of medicine, technology, and strangers.”

The risks and interventions made in a bid to treat or cure someone need to be questioned if they don’t serve the larger aims of a person’s life. If that is forgotten then the suffering inflicted can be unbearable. As Gawande states in the epilogue: “If to be human is to be limited, then the role of caring professions and institutions – from surgeons to nursing homes – ought to be aiding people in their struggle with those limits.”

One of the ideas examined in the book that I found most interesting was around human motivation and fulfilment, especially in relation to ageing. In Chapter 4, Gawande ponders on the question: What makes life worth living when we are old and frail and unable to care for ourselves?

maslow-pyramidAccording to the influential psychologist Abraham Maslow’s A Theory of Human Motivation, published in 1943, there is a ‘hierarchy of needs’, which motivates people. In his pyramid, Maslow places basic tenets of human survival like food and water at the bottom, with self-actualization at the top. Maslow argued that people are motivated to achieve certain needs, and that some are prioritized over others. However, we must satisfy our lower needs before moving on to higher ones. Fulfilling unmet needs is what drives our motivation.

Gawande critiques this theory by pointing out that reality is more complex. For instance, people are willing to self-sacrifice for something beyond themselves such as family or country, and that our driving motivations change with age. The theory holds true for young people, who grow outward as they mature, seeking novel experiences and self-fulfilment. However, in later life, priorities strikingly alter as older adults narrow in. They reduce time and effort in expanding social networks and new experiences, instead focusing on family and established friends.

How can we explain this shift? Laura Carstensen, a psychologist at Stanford, studied the emotional experiences of a diverse group of 200 people, of all ages, over decades of their lives. If Maslow’s theory was right, people would grow unhappier as they aged, unable to achieve fulfilment through narrowing in their lives. Carstensen found the opposite: people reported positive emotions as they aged and were less disposed to feeling angry, anxious or depressed. As people got older, they moved towards focusing their energies on appreciating everyday pleasures and relationships rather than acquisitions and achievements.

Instead of growing wise with age or developing life skills over time, as some researchers had explained this shift, Carstensen argued it wasn’t to do with age per se, but perspective. Based on a near death experience and years of research, Carstensen formulated the theory:

how we seek to spend our time may depend on how much time we perceive ourselves to have.

When we’re young, we think we’ll live forever and don’t fear losing any of our mental or physical capabilities. We tend to delay gratification by investing years into gaining skills and resources, aiming for a brighter future. We seek new connections and widening our network instead of hanging out with parents. When we measure our life in terms of decades, we seek the ‘self-actualization’ at the top of Maslow’s hierarchy. But when we age and our life ahead shrinks and becomes uncertain, our focus shifts to the present moment, to everyday contentment, and close family and friends.

Carstensen tested what she called her ‘socioemotional selectivity theory’ in wide-ranging contexts. She and her team conducted studies with terminally ill HIV/AIDS men, healthy people ranging from 8 to 93 years old, and in different cultural locations such as Hong Kong. They consistently found that age differences disappeared and it was perspective that mattered most. They concluded that “when life’s fragility is primed, people’s goals and motives in their lives shift completely.”

This is important to bear in mind when thinking about ageing and death. When faced with our own mortality, we reorder our desires and priorities. What’s significant to us is quite simple: comfort and companionship. However, in our increasingly medicalized world this is often what gets lost in the focus on prolonging life for as long as possible. We need to remember and be willing to ask ourselves and each other what really matters.

How to publish an academic book

book-publishingAs I look over my final proofs and await the release date of my book Hip-Hop Authenticity and the London Scene, I’ve been reflecting on the process of writing and publishing an academic book. As a first-time monograph author, this has all been new to me so I thought I’d outline the entire process and share the insights I’ve gained so others can learn from my mistakes.

  1. Choose your publisher carefully
    • This is the single most important aspect about publishing your monograph. Research carefully different publishers, which presses you cite most, and the publishers that leading researchers use in your field.
    • I, for some reason, decided on Routledge as my first choice (mainly because lots of my favourite books have been published by Routledge). This was despite being advised to go for a more prestigious press such as Oxford University Press or American university presses. With hindsight, I wish I had gone with another publisher because a) the prestige factor still matters in academia b) the more distinguished presses have more money so spend more time on promotion and marketing and care about you as an author c) they are more likely to sell your book at a reasonable price and not at the outrageous fees of monographs.
    • I was advised to pitch my book as part of a series, which although probably did help make my book ‘fit’ with the publisher, meant that it was only later on I realised I didn’t have any say about the book cover design as the entire series has to be identical.
    • To be safe, choose a back-up second or third choice in case the first publisher rejects your proposal.
  2. Write your book proposal
    • Depending on which publisher you go for, look up their proposal guidelines on their website. Follow this strictly, don’t send the same proposal to different publishers.
    • Change the title from your PhD thesis! Publishers tend to like something broad (key words) but informative and snappy.
    • Ask as many colleagues, supervisors, and friends possible for copies of their book proposals. It’s super helpful seeing the tone and style it is written in (i.e. massively bigging yourself up and making grandiose claims about impact to the field, potential readership, international reach etc.). Make sure it doesn’t sound like a hesitant PhD thesis.
    • You don’t need to submit sample chapters at this stage – they usually only ask for these later on if they’re interested.
  3. Send your proposal to the correct commissioning editor
    • Do some research on your prospective publisher’s website to make sure you send your proposal to the right person – it is usually divided by discipline.
    • In your ‘cover letter’ email keep it short and sweet stating who you are, how your book is a great fit for the publisher, and a two sentence synopsis of your book (no CV, sample chapters, journal articles etc.). Also, include an ultimatum along the lines of: “I’m giving you first refusal to this book but if I don’t hear back within two weeks, I’ll start approaching other publishers.”
  4. Send a follow-up email two weeks later
    • Editors are super busy people and receive hundreds of proposals so send a friendly reminder if you haven’t heard anything. Hopefully they’ll respond saying they’re potentially interested but would like to read 1-2 sample chapters. My commissioning editor asked specifically for chapters 1 and 5 so although it’s a good idea to start preparing your manuscript asap, be aware that you won’t necessarily be working on it chronologically.
  5. The commissioning editor gets your proposal reviewed
    • If the editor is interested in your proposal s/he will send it and the sample chapters to two people in your field to review. The review covers the strength of the topic, the content and structure of the book, you as a scholar and writer, and whether there’s a market for the monograph.
    • You are then sent the reviewers’ and your editor’s comments and asked to write a response about how, or if, you will address their concerns.
  6. The commissioning editor backs your book proposal to the editorial board
    • If your editor likes your proposed project, s/he will need to make the case to the decision-making editorial board (my editor gave me a date of when this meeting takes place so I knew how long I’d be waiting for). They approve or reject the project.
  7. Offer of a contract 
    • If you’re a first time author, you’re usually ecstatic to be offered a contract so sign and send it off immediately. Big mistake! I really wish I’d taken the time to read it properly and ask friends more au fait with law talk to look over it. Nearly every single point on the contract is negotiable. The aspects you’re probably most interested in is the royalties percentage (for academic books anything between 3-10% is the norm), the number of free copies you get, the price of the book, and when/if the book will be released in paperback.
  8. Write the manuscript
    • If your book is basically your PhD thesis, the chances are you are going to need to do some significant re-writing. With hindsight, I wish I’d dedicated more time to the re-writes and really thinking about how I envisaged the complete volume, the style of writing, and even delving back into my fieldwork notes to find exciting examples to bring the book to life. Try and savour the writing process if possible.
    • Get friends and colleagues to read your chapters or any new material to receive feedback.
  9. Manuscript is peer-reviewed
    • Your editor will send your book off to be peer-reviewed. Unfortunately this can result in months and months of waiting. Eventually, you’ll receive a couple of pages of comments and also some feedback from your editor who will have read the entire manuscript too.
    • My anonymous peer-reviewer was incredibly nice and gave some really helpful and detailed feedback. Luckily, there were no substantial changes so I was able to progress with these edits quickly.
  10. The book goes into ‘production’
    • Your book gets sent to the copyeditor, followed by the typesetters, and then the printers.
    • The copyeditor reads your manuscript with a fine-toothed comb and sends a long list of queries about spelling, names, footnotes, references, and punctuation being in the right place, which you address.
    • The typesetters set your text to how it will look in the book. You’ll get sent the final proofs to look over and correct any last (small) errors.
    • Indexing: I was asked by my editor early on whether I’d like to do the indexing myself or pay (£200-300) for their indexer to do it (outrageous they don’t provide it for free, I know!). I stupidly believed I had no idea how to index, wouldn’t know where to start, and couldn’t commit to giving up potentially weeks of my time to it. Big mistake! When I received the index that I will now have to pay for, it was atrocious – really basic with key concepts missing. I ended up having to do my index myself anyway. Luckily, it didn’t take that long because by this stage you’re so familiar with your book you know it inside out, the electronic proofs make it really easy to identify key words, ideas, and page numbers, and they take about a day or two to complete. In short: save money and do your own index!

The main point to take away from all this is that the entire process is an extremely long and complex one. It is now two years since I first emailed my proposal to Routledge to my book being in press. There can be months of seemingly nothing happening and then suddenly an email arrives with a demanding deadline. What can be frustrating is always meeting your various deadlines and then silence for ages the other end. Your editor, peer-reviewers, copy-editors, and type-setters are busy behind the scenes but if you don’t know how publishing works, it can seem like the project isn’t moving forward. Unfortunately my book release date has been pushed back three times now despite my punctual meeting of deadlines so be prepared for potential delays and setbacks and don’t advertise your ‘release date’ too prematurely as it might change.

Another point to bear in mind that I didn’t realise is the extent of what you do yourself in academic publishing: writing the copy that will be used to sell the book, composing the index, organising your own book launch if you’re having one, and promoting and flogging the volume yourself. I’ve really struggled with the self-promotion because I’m so embarrassed my book has a hefty price tag of £90. You have to get over this pretty quickly as a first-time author if you want your book to be widely read.

The publishing process can vary substantially from publisher to publisher but the above is based on my experience. I’ve found these articles on academic publishing provide useful perspectives too:

Resources on transitioning from academic life to freelancing


As I make the break with academic life, I’ve found it really helpful to read other people’s experiences to inform my own choices and actions. Here is a list of blogs, articles, and other useful information on making the career transition.




This list will be continually added to. If you’ve found any resources particularly useful, please leave a link in the comments box below and I’ll add it to the list.


Six lessons I’ve learned since going freelance

freelancers_coverIt’s been a month since I decided to change track in my working life and try out the freelance gig. It’s been an emotional roller-coaster of a month and I’ve been on a steep learning curve. I have no regrets about taking the plunge, but I’ve certainly got a more realistic outlook on the freelance existence.

To help anyone else wanting to embark on this scary but ultimately fulfilling journey, I’m sharing what I’ve learned in this short period of time:

  1. Embrace the hustle

To make it as a freelancer, you need to put yourself out there constantly. Work isn’t going to fall on your lap; you need to seek it out. This involves telling everyone you know that you’re now a freelancer and available for work, relying heavily on any contacts and networks you have from previous employment, and being prepared to shamelessly promote yourself at any (appropriate) opportunity. The last one is pretty tough if you’re not naturally that way inclined but marketing yourself is essential in the freelancing world.

2. Say “yes” to everything

Unfortunately it seems as though 90 per cent of job offers/projects/promises fall through. I had one amazing week of job offer after job offer but stupidly turned many of them down because all the dates and deadlines clashed. Little did I know that the offers I had said “yes” to were dependent on non-existent funding/unreliable people letting you down/jobs that probably didn’t exist in the first place/friends trying to be helpful but didn’t know what they were talking about. As time progresses I’ll get more discerning of what will actually go ahead but in the meantime it’s safer to say yes to everything, wait to see if they ever come to fruition, then turn jobs down if the need ever arises.

3. Build your online presence/brand

Update all your online profiles – LinkedIn, Twitter,, personal website etc. to reflect your new freelance status. Create an identity that clearly conveys the services and expertise you offer and display contact details prominently.

4. Make a plan

So much of freelancing is uncertain so it helps to plan ahead. Make sure you have funds to fall back on. List and contact any potential clients, then keep contacting them to remain on their radar. Decide early on whether you’re prepared to do any work for free. Sign up to a course or develop any skills you might need. Reach out to other freelancers in your field or community. Be super organised – I’m currently writing grant applications to fund my next book project so keeping a calendar of deadlines and timing work responsibilities is vital.

5. Broaden your (perceived) repertoire and skillset

When you’re starting out, the chances are there aren’t going to be great paying jobs that exactly fit your particular interest area/expertise. It’s therefore helpful to broaden what you think your knowledge area and skill base is. I was offered a one day research job for a think tank and turned it down as the topic area seemed far removed from my knowledge base so I a) felt I wasn’t qualified and b) thought it would take much longer than a day to complete. This was a big mistake for two reasons. Reason 1 – they weren’t seeking my knowledge but rather my research skills to write a literature review. In addition, I’m more qualified than I think I am so shouldn’t have succumbed to self-doubt regarding the research topic. Reason 2 – you should say “yes” to everything (see above point), as you never know if it’s actually going to amount to anything. If it does, it’s likely to lead to more work. If it doesn’t, at least you looked keen and they’ll keep you on their books.

Later on down the line, when I have more experience and a strong client base, I’ll become more specialised and picky about jobs. But at the moment I’m finding it’s good to be open-minded as income can come from unexpected sources. For instance, my main freelance job this month has been marking student dissertations. I never would have thought to seek out this kind of work but it turns out to be well paid and surprisingly enjoyable.

6. Negotiate your day rate

This is a really tricky one for the new freelancer and deserves it’s own blog post (which I’ll do at a later date). When someone approaches you with a job and pay offer, it’s not a fixed deal. My freelancer friend taught me that you need to extract a clear brief from the client, calculate how long you think it will take, and then give a quote (especially if it’s higher than they offered at the outset). They’ll either respond with a direct yes or no, or try and enter into negotiations. It’s likely they have a bigger budget than they’re letting on, but if they don’t, it’s up to you whether it’s worth a low payment. Taking the job will probably open more freelance doors but you don’t want to get struck in the trap of being on a low rate with them forever. Deciding what to charge as your day rate in the first place can be a minefield but luckily I have friends who are freelancers and although they’re in different fields, I was able to discern what the general pay bracket is for freelancers in London and set a competitive day rate accordingly.


So, how am I doing after a month? Life seems much more manageable and balanced. I love being in control of my own schedule and being able to meet the odd friend or see my family during the day. I’m not making bucket loads of money but have reached my minimum target amount for the month. Despite the challenges, freelancing is proving to be worthwhile and rewarding.

Becoming a freelancer


‘A Bigger Splash’ (1967) David Hockney

I’ve taken the plunge and decided to go freelance. It’s been a tough decision as I really enjoy so much of academic life – teaching, writing and publishing, a stimulating environment, wonderful students, inspiring colleagues and so on – but unfortunately the terrible working conditions of university employment outweigh any of these positives.

The discontent surrounding the current state and future direction of higher education is well reported – see here, here and here for summaries. I’ve been disillusioned for some time but found it too difficult to walk away after the years I’ve invested into an academic career.

The turning point was when I found myself yet again moaning about the flagrant exploitation and under-paid nature of my job to a friend over dinner. Instead of listening to me complain he asked: “What do you want your life to look like?” I started muttering something about really enjoying teaching, so doing something along those lines or maybe perhaps being a journalist. “No” he interrupted, “not what job would you like to do, what do you want your life to look like?”

This was a novel way of thinking about my work situation – all those unpaid hours in the evenings and over weekends was certainly not how I wanted my life to be. The politics in the department and brazen nepotism was an unhealthy and unpleasant environment to work in. The pressure to publish and demands of the REF meant scholarly freedom was curtailed and university life actually quashed rather than cultivated intellectual curiosity and exploration. I had a lightbulb moment and realised that this was not the life I wanted to lead, nor the habitat I would ever thrive in.

So what did I want my life to look like? I wanted a work-life balance. I wanted to write whatever I liked and publish articles that weren’t locked behind a paywall. I wanted to be in control of my time and have genuine autonomy. These realisations, coupled with more adjunct teaching misery, led to my decision to go freelance.

I’m not naive. I know how tough freelancing is and the challenges and uncertainties of self-employment. I had in fact taught a whole MA module on precarious labour (‘Creatives’: Working in the Cultural Industries) this past academic year. But I needed to get out of what was an increasingly toxic environment and try and make it on my own. I’ve done some odd writing and research freelance jobs over the past two years since I’ve finished my PhD, so it’s not entirely new to me and I’ve built up some contacts. Plus, my partner is self-employed so I’ve witnessed firsthand the trials and tribulations of being a freelancer. I’m therefore not doing into this totally blind.

To summarise, the reasons I’m embarking on a freelance career are:

  • To have more control over the way I spend my time
  • To have flexibility in how and where I work (whether at home/abroad/part-time/with a family)
  • To escape the restrictive and what I feel to be unethical working conditions of academia
  • To follow my creative impulses and work on the professional and personal projects I want to – away from the pressures of the REF and citation metrics
  • To write for a wider, popular audience

I’ll be documenting how this exciting new endeavour develops and will blog about these topics in more detail over the coming months. I also plan to provide useful information for other writers/researchers/post-academics who are making the transition to freelance work.

Articles and websites that I’ve found helpful so far include:

Freelancing is both an exciting and daunting enterprise as there’s so much uncertainty but I’m already glad I’ve taken the plunge. As the ancient Roman philosopher Seneca said: “It’s not because things are difficult that we dare not venture. It’s because we dare not venture that they are difficult.”