money but if the subject really doesn’t interest you, you don’t have to take the job. If you’re
lucky to have some money in the bank, you ask, ‘what am I passionate about?’ I have
worked as both a staff person and a freelancer. And I know that it’s refreshing for a staff
person to work with a freelancer – it feels like a breeze comes in. They’re not grounded in a
way like staff people are (KATE IMITATES DEPRESSED STAFFERS) ‘I hate this job.”
Freelancers are like (HAPPY VOICE) ‘I just came back from a tennis match – what’s going
on?’ Their life is their life. They risk relationship and security – but you are living every day.
You are living the life you want to live.”
What I love about Kate is her joie de vivre. She is energetic, strong-willed and opinionated.
When Kate was told, “you’re never going to make it in New York” – she was inspired to
move there. Without her tenacity, she would have never worked on the Olympics or the
After working on the reality show “Raising Sextuplets” as a freelancer, Kate is now working
full time for the company that hired her to repair the show. She currently is an Executive
Producer at WE-tv in New York.
Kate talks at great length about how ESPN and reality television concessions were industry
game changers. She candidly discusses the unspoken rate card, budgets, hiring, working
with international crews and the art of negotiation. The subject of aging in a youth-fixated
industry will be discussed in the chapter on “Creativity and Aging.” Kate examines how
freelance challenges friendships and relationships. She advises, “The person working
beside you could be your boss the next day. I would have to say that I’ve burned some
bridges with people through my ego, temper or personality. I think that’s going to happen
in this business. Don’t regret it – keep moving.”
At the end of conversation, I asked if our discussion was useful. Kate replies, “Nobody
ever asks you this many questions about your work – and actually listens. Are you kidding?
It’s like being in therapy.”