Wednesday, August 25, 2010

Show Me the Money!

Okay, so now you’ve started to get a few modeling gigs under your belt.

And then it happens: you find yourself getting regular bookings. From different schools and groups. Each of which pays a different amount and has you posing for different amounts of time. What to do?

Now, as I’ve told you time and again, modeling isn’t an easy job, even if you do it part time. So you owe it to yourself to make sure you know for certain how much you get paid for each venue (it varies from group to group and school to school), and if you find yourself working a lot, you’ll find that you may be forgetting how much you’re owed, and by whom.

In this post, what I’d like to do is to give you some ideas on how to keep track of all that money you’re owed, as well as to provide you with some advice on how to manage it.

First off, I recommended in a previous post to mark all your upcoming gigs in a calendar of some kind. What you also want to do, as you book your upcoming gigs, is to confirm how much you’ll be paid. Usually, the people you’ll be working for tell you this up front, but it’s possible they might forget. Generally, the going rate is anywhere from $15 to $20 per hour, at least in an urban area. Frankly, I wouldn’t advise working for less than $15 unless it’s a favor to someone you’ve worked with before and know very well.

Think about it. You’re doing a job that 99.99 percent of people out there can’t or won’t do. And yet, there’s a demand for you. You’re the rare, select few that can take their clothes off for complete strangers. And hold some incredibly difficult (and painful) poses. You’re a valuable commodity. You owe it to yourself to get paid handsomely for what you do. After all, if just anyone could deal with the physical and psychological baggage that comes with the territory, you wouldn’t have work!

What I’m getting at is that, once you get established, you’ll come up with an idea of what you feel is the bare minimum per hour that you’ll work for. Occasionally, you’ll find that sometimes you may end up working for less than you think you’re worth just to establish yourself with a new group, and gain some exposure.

It’s all up to you in terms of marketing yourself and making sure that you work for what you’re worth.

Now once these gigs start rolling in, I’d highly advise you to create an Excel worksheet that lists each place you work for, their hourly (or flat) rate, and the days you work for them, per hour. This way, you have an at-a-glance way of knowing who you worked for, when you worked for them, how much they pay per hour, how many hours you worked for them, and the total that you’re owed.

Most art schools pay via check. Some pay you via direct deposit and take out the necessary taxes. Others have you fill out a 1099 but don’t withhold taxes. It’s up to you to set aside the necessary money (if any—generally if you make under a certain amount, somewhere around $600 per year, you don’t have to file) to pay any taxes owed. Since they’re reporting your earnings to the IRS, don’t think that you can dodge paying them! Other places (generally art groups and private artists) pay you under the table, and it’s up to you to determine whether or not you choose to report this to the IRS.

If you get paid up front, you’ll be paid at the end of the session (usually in cash, but sometimes in the form of a personal check). Even if it’s a multi-session gig, you’ll be paid that day’s wages at the end of the day. If you’re working for an art school, you’ll generally be paid via checks that are cut whenever they run payroll (usually bimonthly). If you’re being paid this way, I strongly, strongly advise you to keep tabs on what you’re owed (and this is where the spreadsheet I just talked about becomes invaluable, particularly when you have multiple gigs across multiple venues), because I’ve had several instances where I didn’t get paid and had to gently remind the school that I was owed a check. The model coordinator at one of the places I work for has me send an email to her after every session just to make sure I’m not overlooked when they do the next payroll run.

Eventually, you may find yourself making several hundred dollars per month (I wouldn’t, ahem, bank on this, but this will often be the case during certain months of the year if you’re reputable) and find yourself wondering what to do with it.

To be honest, I’d treat it as mad money. Easy come, easy go. First off, if you have a regular 9-5 job, gigs will be somewhat harder to come by since you’re only available during nights and weekends. It really isn’t that regular of an income to rely on each month. Some months you may have a gig or two each week. And then several months (typically June – August) you won’t have any work.

What I’m getting at is that it generally won’t be a steady or reliable enough source of income to the point where you know you can set aside X dollars on a monthly basis to pay off credit cards, student loans, rent, or set aside for a vacation, a new TV, etc. I honestly think it’s best to spend it on partying, dating, new clothes, and impulse buying (or what I generally like to call “stupid shit”) so that you can use your regular wages to pay for ordinary crap like rent, bills, etc.

Simply put, I treat my modeling wages like someone might treat finding $20 in a pair of jeans they haven’t worn since last Fall. It’s unexpected money that you can use to buy something you normally wouldn’t want to spend money on.

I once read the memoirs of a soldier who fought in the Korean War. He told stories of how he and his buddies used to gamble, but they never got crazy about their winnings. If they won, they’d spend it on booze. If they lost it during a game, no big deal. What he said next really struck me: the money he earned gambling with his buddies wasn’t the same money earned on the battlefield. Gambling money was easy come, easy go. It wasn’t the same money you took a bullet for.

Think of your modeling wages in a similar light. Perhaps one of the greatest joys I get is getting a last-minute (in some cases, literally last minute. As in, they sent me an email at 4:45 pm as I was shutting off my computer asking me to fill in for another model at 6 pm later that night) booking, and then realizing I can use it to buy a pair of jeans or a video game I’ve had my eye on!

3 comments:

City Girl said...

Loved several of your points: 1) not to undervalue your worth; 2) view your winnings as "fun money;" and 3) remember that it might need to be taxed!

Jason said...

Thanks! I think that while a model shouldn't get a big head and immediately think they're worth the maximum going rate, I also maintain that if you know your skills (measured in part by your demand) are increasing, it's only fair to consider working for a set minimum per engagement.

Granted, I personally don't have a daily rate since all my work has been for drawing groups and schools, and the rate's aren't really negotiable, but I've held off on soliciting certain venues for gigs just because their rate was so low.

Jason said...

Err... "and the RATES" sans apostrophe. I assure you I have some grasp of written English :)