From the outside, going staff looks like stability.
A salary. Benefits. A team. Predictable work.
From the inside, once you’ve freelanced long enough, it often feels like giving something up.
Not because staff roles are bad.
But because freelance rewires how you think about work, money, and control.
And once that happens, it’s very hard to go back.
I started my career as a junior motion designer at a small studio in Atlanta. I was staff for four years.
It was a great place to learn. I’m grateful for that chapter.
But since I left, that same studio has gone through multiple rounds of layoffs. At one point, they replaced their Creative Director with younger, cheaper talent.
That’s not an indictment of the people there. It’s just how studios survive.
Staff roles feel stable until the business needs change. And when they do, loyalty doesn’t protect you.
I was once offered a full-time role while permalancing at Yahoo.
On paper, the offer looked generous. In reality, I would have made more money freelancing. It would have been a discount for them.
That moment stuck with me.
Staff salaries are capped. Freelance income isn’t. And once you see that gap clearly, it’s hard to ignore.
There were only two other times I seriously considered going staff.
Both were small studios I loved freelancing at. Amazing people. Phenomenal work.
Both of them eventually shut down.
If I had taken it, one of those layoffs would have landed while I was pregnant. Goodbye maternity leave, hello unemployment.
That’s when it really clicked for me.
Freelancers can simply find another client.
Staffers immediately have no income.
Even in the best studios, senior creatives tend to get pushed in the same direction.
More management, meetings, and people problems. Less time animating.
That path makes sense for some people. It never did for me.
I also don’t want the business’ goals determining my professional development. I don’t want to manage teams or chase titles. I want to do the work I’m good at.
Freelance lets me stay close to the craft instead of being promoted away from it.
The average staff designer works about 260 days a year. I work closer to 200.
I don’t ask for vacation. I just put it on my calendar. For as many days as I want.
That difference alone changes how work feels.
Recovery days count. Flexibility counts. The ability to step away without guilt counts.
Time off is compensation.
When you’re staff, your opportunities are bounded by whatever work the studio can sell.
As a freelancer, that ability to choose explodes.
Different industries. Different team sizes. Different creative problems.
I’ve worked on content for comedians, product demos for Google, documentaries for Netflix, experiential installations, AR filters, brand campaigns.
Many of those opportunities simply wouldn’t have crossed my desk as a staff designer.
Even great studios have politics.
Personalities. Power dynamics. Strategic pivots you don’t agree with but still have to support.
Freelance doesn’t eliminate that entirely, but it changes your relationship to it.
When you’re independent, you can just opt out. You can choose who you work with.
That alone reduces stress more than most people realize.
Once you’ve run your business long enough, you start trusting your own judgment more than anyone else’s.
You know how much work you can take on.
You know when to push and when to pause.
You know what kind of work energizes you and what drains you.
I don’t need permission to grow. Or rest. Or change direction.
That’s freedom that's incredibly hard to give back.
Some freelancers never go back to staff because they’ve learned a few uncomfortable truths.
Stability is often an illusion.
Income caps are real.
Autonomy is addictive.
Once you’ve experienced control over your time, your clients, and your career trajectory, it’s hard to accept less.
It’s not that staff is worse.
It’s that you know what you’re giving up now.
Motion Partner
