
Lancing for Free

A dream in a safe
In a boxed-in corner of my mind, I hold a dream inside a safe. The dream is this—it is independent living. At the moment, I live with my parents. When I was thirty-one, I became so debilitated by a chronic illness, I could no longer work, meaning I had no income, no ability to pay the rent, and no ability to take care of myself either physically or financially.
That first night after I moved back in with my parents, I told myself it was temporary. I would soon be back on my own two feet. But now I’m thirty-nine and the milestone of my fortieth birthday is approaching like a high-speed train.
In the intervening years, my illness has steadily progressed. To begin with, it was mostly stomach issues, nausea and fatigue. Now, it’s chest pain, back pain, inflamed elbows, inflamed knees, throat infections, tinnitus, dizzy spells, breathlessness, skin rashes, migraines, a bleeding tongue, iron deficiency, chronic neutropenia—a whole constellation of symptoms I refer to as Trevor. But while the illness has progressed, my ability to deal with it has also progressed. As with anything, the more hours we spend ‘practising’, the better we become. And with a chronic illness, it’s either adapt or crumble.
My adaptions are these—I’ve modified my diet (currently I can eat rice, carrots, lettuce, cucumber, red pepper, courgette, babycorn, bamboo shoots, spring onions, tomato, broccoli, fish and chicken). I take each day as it comes. I build my life around the concept of crip time (where life is moulded around the individual rather than trying to mould the individual around the world). I avoid crowded places. Mostly I accept that I’m a person who doesn’t go out. And when I do, I accept that it comes at a cost, that I will have post-exertional malaise (PEM) for several hours / days / weeks after the event.
When it comes to work, I’ve invented a job that works around me. I have a languages degree. I’m a qualified teacher. I’ve trained as an editor. And I’ve combined these things together to become a freelancing editor-teacher-writer. This has given me a sense of purpose, a reason to get up in the mornings.
But life as a freelancer is hard. I’m not just an editor-teacher-writer. I also have to be an accountant, a marketing manager, a web designer, a social media assistant, a planner, an IT support desk, a business strategist etc. One of the hardest things for me is the business of money. I want to keep my rates as low as possible. In an ideal world, I would simply work for free. But this causes problems for others (see below). And it also doesn’t fit with the dream in that safe of independent living. Houses are expensive things. If I want to get a mortgage, I need to earn money. But money, unfortunately, doesn’t grow on trees.
Rip-off vampire
In a different corner of my mind, there’s a gremlin. Sometimes, he’s caged. Sometimes, he’s roaming free. This gremlin is an exaggeration of various comments that have been thrown my way over the last few years. Mostly what it growls is this—I’m a rip-off vampire. I’m a leech sucking the blood of innocent writers. I’m a charlatan. I’m a clown. I’m a shark. I’m a parasite.
How can I charge £105 for my two-week courses?
How can I charge £40 to critique a 1000-word flash fiction?
How can I charge £600 to provide feedback on a novel?
How can I charge £60 for a one-hour one-to-one?
Some of these growls come from real emails and real comments from social media, but others are things the gremlin has added to its repertoire of its own accord. Somewhere, there’s a tiny slug of a thing that reminds me of the opposite. Someone described my courses as ‘ridiculously good value.’ Someone else told me my editorial report on their novel was worth every penny and several pennies more. But that slug is quiet and the gremlin is loud.
And there’s a good reason for this.
Could I afford £105 to attend one of my courses? Not easily. Could I pay me for mentoring services? Definitely not.
Another word the gremlin throws around is ‘hypocrite.’ How can I talk about levelling the playing field when my prices are so high?
And perhaps I am a hypocrite? Perhaps I should simply work for free? Perhaps I should give up on my dream of owning a house?

A lance for hire
Freelancer, noun ˈfɹiː.lɑːn.sə—a person whose employment is self-generated, someone who works for themselves rather than an organisation, a lance for hire. Etymology: from noun ‘freelance’, attributed to Sir Walter Scott (‘Ivanhoe’ 1920), a portmanteau of ‘free’ + ‘lance’.
We make our own money. We make our own hours. We make our own decisions. We make our own mistakes. We’re unbound by any constraints. We don’t follow the crowd. We’re free. We’re independent.
But we’re also wary. Our world can be a difficult one. Our world doesn’t have the security of others. There are no bank holidays here. There is no holiday pay, no sick leave entitlement. We aren’t paid for coffee breaks. We aren’t paid to sit around and dream.
Time for us is money. But time has a habit of swirling down plugholes. We answer emails. We wrangle with websites. We write newsletters. We do professional development. We apply for opportunities. We make business plans. We file our taxes. These are all things that need to be done, but none of them earn us any actual money.
So, we buckle down. We conjure more hours. We work harder. And our work is still enjoyable. But it can also be tough. We worry about the implications if no one signs up for our courses. We need to make X to break even. We need to make Y to earn a living wage. When we earn Z instead, we turn to new ventures. We diversify. We take risks. We juggle our many hats towards editing work or mentoring work where we worry about the implications if our invoices aren’t paid.
And we buckle down again—what other choice do we have? We conjure more hours. We work harder. And our work is still enjoyable. But sometimes we ask ourselves is it worth it? Are we earning what we’re worth?
Comparative expense
Worth is a difficult concept.
What is a person worth? What is a thing worth? What is a service worth?
When something exceeds what we think it’s worth, we tend to describe it as ‘expensive’ or less politely as a ‘rip-off.’
But ‘expensive’ and ‘rip-off’ aren’t the same thing. It’s easy to look at something we want to buy and moan about it being ‘too expensive.’ But generally what we mean is ‘it’s too expensive for me.’
It’s also easy to compare the cost of that thing to the cost of what it would have been in the past. I have little to no understanding of inflation and why prices go up year after year, but this is an undeniable certainty of how the world works. Prices go up. But our brains don’t always keep track of that, especially when it comes to ‘luxuries’ (like writing courses and editing reports) that aren’t so much a part of our everyday lives.
Another comparison many of us make is comparing one thing against another. How can a two-week writing course cost £105 when your one-month gym membership is only £23? How can it cost £40 for a critique of a 1000-word flash fiction? You could go out for a three-course meal for that much and still have a generous tip for your waiter!
But what we’re doing with this comparison is comparing apples with pears. Or perhaps it’s apples with purple-sprouting broccoli. It seems like a good comparison, but is it really a good comparison? For me, in order to compare the worth of different things, we should be better at digging down into the cost of making those things or providing those services.
So, let’s break that down for me:
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I’m an editor with over five years’ experience. The professional body for editors in the UK is the CIEP. Most of my work falls under what the CIEP terms ‘substantial editing’ or ‘development editing.’ Their suggested minimum rate for this is £41.10 an hour. They suggest this fee should go up in line with experience. There are no specific guidelines for how much this increase should be, but I’ve seen an hourly fee of £50-£60 suggested for someone of my experience level.
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I’m also a qualified teacher and the other side of my professional practice involves teaching writing craft, either on courses or workshops, or through mentoring writers on a one-to-one basis. The closest equivalent to this would be a teacher in a university—and the UCU (University and College Union) suggests a comprehensive hourly rate of £44 per hour. Specialist mentors meanwhile generally attract hourly fees of £60-£100.
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By comparison, my standard hourly rate is currently £32 per hour. But often it’s slightly less than that.
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For my courses, I spend an average of three hours providing help and feedback per student. 3 x £32 is £96. The additional £9 to make the course fee up to £105 has to cover (a) all the time it took to research and write the course in the first place, and (b) the time it takes to market the course. So, if everyone were to pay £105 (see below), I’d be earning slightly under £32 per hour all things considered.
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For my editing work, the calculation is slightly simpler. On average, it takes me an hour and a quarter to provide a critique on a 1000-word flash fiction. 1.25 x £32 is £40. So, that’s the price. My other prices are set against the same criteria.
So, there we are. £32 per hour.
And many of you will be thinking how lucky I am. How many people are earning £32 an hour? That’s an amazing rate of pay!!!
But is it actually my rate of pay? Or do I need to take into account all that time that spirals down the sinkhole of answering emails, wrangling websites, and financial accounting? In a good week, I reckon that 70% of my time is spent doing jobs that attract income. The rest is stuff that doesn’t.
So, my hourly rate goes down. My hourly rate is now £22.40.
But what if I factor in everything I’d be entitled to in the UK as a salaried employee? That’s 8 bank holidays and 20 days of holiday leave. I would also be entitled to sick pay and the average UK employee took 4.4 days off sick in 2024. To this calculation, I should also factor in that the average worker spends 30 minutes in a typical 7-hour day making tea or coffee or going to the toilet. They get paid for this time. A freelancer doesn’t.
So, now I’m down to £18.20 per hour.
But then I have to account for transaction fees. On an average transaction, I lose 3.5% of the fee paid by my customer.
So, my hourly income falls again to £17.65.
But I still haven’t factored in my expenses—website costs, email costs, internet, electricity, training courses, memberships, accountancy software etc. I’ve also probably been over-optimistic in how much time I spend on ‘paid’ work and how much time I spend on ‘unpaid’ work. Sometimes, an editing report takes an hour and a half rather than an hour and a quarter. Sometimes, the split of my day is more like fifty-fifty between work that has an income attached and work that doesn’t.
So, it probably isn’t beyond the stretch of realism to suggest that my hourly income is actually around the £16 mark.
And this still isn’t bad. Many people in the UK earn less than that. But it does hopefully highlight how quickly that £32 folds in half once you start to prod it from every angle.

The ideal-world show
In an ideal world, everyone would be able to take part in writing courses.
In an ideal world, everyone would be able to access editorial services.
In an ideal world, everyone would have the same opportunities to enjoy reading and writing from a young age.
In an ideal world, everyone would have the same amount of leisure time.
In an ideal world, money would be irrelevant.
In an ideal world, all that would matter is whether or not a writer had something interesting to say.
In an ideal world, the arts would be held on a pedestal.
In an ideal world, we would recognise the importance of embracing all voices, cultures and perspectives.
In an ideal world, we would cherish writers as an integral part of our society.
In an ideal world, being a writer would mean having a salary.
In an ideal world, there would be proper funding for the arts.
In an ideal world, no one would talk about an ideal world.
Levelling the playing field
It saddens me that we don’t live in that ideal world. It would be lovely if we could all just sail off to a tropical island and live in an egalitarian community of writers. But we’re unfortunately quite a long way away from that. Whenever the world runs into a financial stumbling block, it’s always the so-called ‘luxuries’ that are hardest hit. In the UK, the arts has never been properly funded. It has always been precarious. And anyone working within the arts mostly has to accept that. But now it feels harder than ever.
I find it very frustrating that many writing opportunities are out of reach for many aspiring writers. Courses. Editorial support. Residencies. Competitions. So many of these things cost money that many people simply can’t afford. This is why I run my courses and workshops on a pay-what-you-can basis. Currently for my courses, I offer price points between £60 and £105. For my live workshops, I offer price points between £12 and £20. That means a writer can pay 60% of the fee and still take part. But this is still frustratingly out of reach for many writers.
So, I try to do more. Earlier in the year, I completed a challenge for charity where I climbed the height of Ben Nevis on my stair case. Thanks to this, I’m able to fund 20 free places on my courses and will also be offering 60 free places on my workshops over the next 12 months. This is wonderful, but it’s only really the tip of the iceberg. The scale of the problem isn’t something that a single freelancer can tackle on their own.
I do as much as I can. But there’s a limit to what I can possibly provide. While the free places have been generously funded by others, most of the reduced-cost places are funded by me. For one of my recent courses, the average fee paid by participants was £85. That’s 20% less than the fee I’ve calculated my earnings on above—so that hourly income ticks ever downwards.
When I didn’t have the dream in my head to achieve independent living from my parents, I felt like this was the least I could do. I have a long-term health issue that pushes me into a category of disadvantage, but otherwise my life has been one of privilege. My family isn’t poor. I’m a man. I’m white. I’ve had the luxury in the past of nice holidays. I’ve been to university. And this makes me exactly the sort of person who should try, where I can, to pay back some of the privilege I’ve been given in life.
But the problem with offering free or reduced-cost places is that it becomes an expectation. ‘If X is doing Y, why aren’t you?’ Or ‘you did Z in the past, why aren’t you doing it now?’
Others certainly shouldn’t be held to this expectation just because I’m able to offer it. What we don’t want within the writing community is for every teacher and every editor to be a white middle class male. There needs to be a homogeneity of voices in terms of who works in these important roles.
Writers from the global majority, writers from different social backgrounds, disabled writers, LGBTQ+ writers—for me, the ideal we need to strive towards is for anyone in any bracket of disadvantage to be equally enabled to work in these freelance roles—and setting hard expectations of pay-what-you-can pricing only creates another barrier to that.
It’s also worth pointing out that while I’ve been able to accept a ‘lower than worth’ income from my freelancing work, doing so sets another expectation—‘If M charges A, how can you be charging B? That’s twice as much!’ This, again, isn’t fair. Not for other freelancers. And perhaps it also isn’t fair for me.
I come back to wants and needs here. Because of my illness, my horizons are limited and limited horizons have the advantage of costing less money. I don’t spend money on going to the pub or eating out. I don’t spend much money on clothes. I don’t spend money on going to the cinema or the theatre or concerts. I don’t spend money on holidays. I don’t have many travel expenses.
But just because my expenses are reduced compared to what they might be if I was a fully-functioning human being, does that reduce my worth? This is something I’ve always grappled with—that small slug inside my brain says no, the gremlin says yes—but it has all come into much sharper focus in the last few months now that I am considering my dream of independent living as a possible next step. If I take that step, I’ll need to earn a certain annual salary in order to afford my mortgage, which means I probably need to make some tough choices about the fees I charge and how much I can do for free.
Writing this essay has made me realise that I work more hours than I give myself credit for and earn less for working those hours than I probably merit. It has also focused my attention on all the free stuff I offer—my monthly craft article, running the Welkin Writing Prize, producing resources for my website. These are things I’ll continue to do. I’ll also continue to run my courses and workshops on a pay-what-you-can basis as long as I am able to. But other stuff—maybe I need to be better at letting it slide, not feeling so guilty about not being able to provide everything from that ideal world.

Your friendly neighbourhood freelancer
I also need to be better at remembering that I exist within a community. I am alone in my work, but I’m not alone in the world. There are plenty of other amazing people doing similar freelancing to me. Their fees are similar to mine. Their mindsets in terms of levelling the playing field are also similar to mine. If you want to make comparisons about worth and fees, perhaps you might consider the discrepancy between the fees charged by freelance editor-teacher-writers and those charged by writing organisations. I know of a couple of big organisations who charge £60-£75 (against my £20) for a 90-minute workshop. I know of one place charging almost £500 (against my £105) for a two-week course that has a similar level of tutor engagement to my own.
So, I hope you’ll bear that in mind next time you look at the fees charged by a freelancer and wonder whether they're justified. I also hope you'll consider how supporting freelancers diversifies the ecosystem of the arts and helps move us incrementally towards that ideal world where the playing field is more level, where people of all backgrounds and identities are represented in the pool of teachers and editors, and I, perhaps, can live independently in my own house.
And how can best can you support freelancers towards that goal?
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Sign up for our writing courses or live workshops, which might seem expensive but are often much better value for money than similar offerings from larger organisations.
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If you've enjoyed a course or workshop, offer to write a testimonial or shout about what we do on social media.
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Trust us to provide editorial services on your novels or short fiction.
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If a feedback report is particularly helpful or in-depth, perhaps think about adding a tip on top.
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Consider what we do for free. Find a free resource that you come back to all the time? Read a craft article that really chimes with you? Maybe make a small contribution to our Ko-fi page?
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Repost our social media posts to help us reach a wider audience,.
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Recommend us to your writing groups.
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Be mindful of our time when asking for things for free. Be mindful that we don't have a marketing department, an IT department, a finances department. Be mindful that we sometimes like to have weekends or other time off.
Juxtapositions
Being a freelance editor-teacher-writer is a struggle. It’s a precarious way of earning money. It involves so much more than simply editing, teaching, writing.
Being a freelance editor-teacher-writer is a privilege. I work with so many incredible writers. It’s a joy to help them enhance their writing craft.
I want to provide good value for money. I keep my prices as low as I can.
I want to be fair to myself. I’m not good at appreciating my own worth.
My life is full of privilege. I have a roof over my head. I never go hungry. I am a man. I am white.
My life is tied to illness. I am in pain. My tongue is on fire. My head is ringing.
Everyone should have access to writing opportunities regardless of background or wealth.
The world isn’t a utopia. The arts are chronically underfunded. No one can solve that on their own.
I have a gremlin who tells me I’m a rip-off vampire, a charlatan, a hypocrite.
I have a dream of independent living, of owning my own house.
Published in June 2025