We asked experienced freelance editors to respond to the frequently asked questions of newer freelance editors; here's what they had to say. 

  What led you from another college or career track into editing, and what helped you most in the transition? Did you actually plan on a career in editing while you were still studying?

While working on a degree in journalism, I had to take an editing course. The teacher was a daily newspaper editor who got his start working for tabloid papers in England. I worked hard to get a C, which I am sure was due to the fact that the teacher and I didn't agree on what was worthwhile to print.

Ironically, the first job I got was working as an editor for a medical publishing company. I soon graduated to become editorial director.

While at university, I had hoped to be a magazine feature writer or a communications manager of a social justice or environmental nonprofit.

I'm a humanities person. I went to a liberal arts college, where I studied history, English literature, women's studies, religion, anthropology, German, modern drama, art—you name it. I was always asked, "What are you going to do with a liberal arts education?" I hated that question. I didn't have an answer, but something pushed me toward publishing. I had always loved to read and discuss books with other book lovers. And I just knew there had to be a place for my type-A organizational skills. After college, I found an entry-level editorial position with Houghton Mifflin in Boston. Luckily, it was a solid fit. I greatly enjoyed the environment and the work of building books. Publishing proved to be the perfect field for my generalist's knowledge.

I was a lawyer before I became an editor. I decided to switch careers and started networking. I met a woman, through a law school friend, who worked at a national magazine and gave her a call. It just so happened that they were looking to hire a research editor. I took the editing test and got the job.

It was an entry-level position, but in one year I was promoted to assistant managing editor, and the following year I became managing editor of another national magazine. I watched the other editors very closely, and fortunately our editor-in-chief was brilliant, so I was inspired to work hard and "move up the masthead," so to speak.

I was an English major in college and then went on to get my law degree and practice law. The combined background, I feel, contributed to my success as an editor.

Friends would have me proof their college papers, but I never imagined that one could get paid to edit and proofread books. I majored in political science.

After graduation, I took a position in Washington, D.C. Half of my job involved writing, editing, and proofreading publications. My supervisor was an excellent editor who had previously worked at a publishing house. He gave me invaluable training in basics like how to mark up a manuscript and the meaning of terms like blue lines and galleys.

When I left that job, I decided to see if someone would pay me for my editorial skills. Through the classifieds, I got a two-month job helping edit a directory of law professors for a law school association for $8 an hour. Even though the wage was very low, I was happy to do it because it gave me a solid editing credential on my résumé. With that credential, I got a job proofreading at an ad agency. Then I parlayed that into a final, very memorable job as proofreader of transcripts for National Public Radio. 

I always worked in offices, not at home, till I moved to Seattle in 1992. Working at home seemed like a fantasy; I never thought it was possible. 

  What is/was the most challenging thing about becoming a freelancer? 

I became a freelancer three years ago by circumstance—living in a small city where there were few local jobs in communications and many writers and editors. I had been employed by an environmental nonprofit group which lost its core funding.

The biggest challenge was keeping cool about an uncertain income. In the first year, I had no idea where a job would come from to pay the month's rent. I relied heavily on networking; consequently, jobs came to me through other professionals—writers, photographers, editors, and graphic designers. I had joined three professional communications associations, and actively participated in all of them.

Currently I have steady clients, but I cultivate new clients all the time—which brings the most "job security."

The most challenging thing to me was going after the work, instead of just having it come to me. Making contacts was one thing, but working to have those contacts produce assignments was another. I was too shy to ask for work! I didn't want to seem pushy. Now I see how wrong-headed that perception was. People like to help other people; they like sharing information. Not only does it make them look and feel good, but it also helps expands their own network. Now I'm much more direct, but gentle, in getting the word out that I'm a professional "for hire."

My biggest challenge as a freelancer is handling the uneven work flow. I am either working like a dog or I'm barely working. And when I'm not working, I'm constantly twitting about finding work. I've been a full-time freelancer for 2½ years now, and I'm starting to recognize the cycles for my type of work. For instance, the winters are s-l-o-w for me. Summer and autumn—the times I'm least interested in working—are insanely busy.

The most challenging thing about becoming a freelancer is having steady work and balancing different clients and their projects. I became a freelancer because I wanted to work at home and prepare my lifestyle for the day that I become a mother. I was able to launch my freelance business by networking. Having had an established career as a magazine editor helped people have confidence in my ability to do a job, and that enabled me to get referrals. But I also researched different companies that I would like to work for and sent out letters and résumés.

Managing the work flow is the most challenging thing for me. The feast-or-famine line rings very true in my experience. Despite my best efforts at scheduling the workload, some books fall behind schedule at the publishers (or are bumped up by the publishers), or a project comes up that I don't want to turn down. Alternatively, panic sets in when I don't have the next project lined up (again, part of the type-A editor's personality). The work always gets done and another project always turns up—as a freelancer it's important to take a few deep breaths every now and then. Other challenges for full-time freelancers are managing cash flow (because of irregular payment schedules) and finding the time, energy, and creative spirit to continue to market oneself.

  How did you make the shift from a career that did not involve marketing yourself to one that relies completely on marketing?

The biggest part of that shift for me was to acknowledge that marketing was even important. It wasn't enough, I soon realized, that I was good. I had to create an image on paper to prove it to prospective clients. That meant a more polished résumé, letterhead, business cards. I've even seen editors and writers with their own trifold brochure!

Another lesson in marketing for me was where to direct my efforts. I started reading the newspaper with an eye toward ways to expand my client list. Each magazine that was sold or new editor appointed represented a potential new client. I also scanned job ads for full-time people, figuring that a company might need a stand-in until the position was filled. I learned to carry business cards with me everywhere, and hand them out generously.

When I finish one job, I often ask where else in the company (if it is a big one) my skills might be handy. This is particularly useful when a client is well pleased with your work. If she likes you, she'll likely be happy to pass your name along to others. The bottom line: Make it clear you are looking for work, know that there's nothing to be ashamed of in asking, and milk that network!

I stayed with Houghton Mifflin for three years, absorbing the editorial process from start to finish. By the time I left, I was an assistant editor. I then moved to Washington, D.C., where I switched from developing trade books to producing scholarly works for academic publishers (still as an on-site employee). Three years later, I moved to Seattle, where I decided to take the plunge and go solo.

Having in-house experience with both trade and scholarly publishers has certainly helped me build a client base as a freelancer. My first clients were in fact my old employers. When I moved to Seattle, I brought along a six-month contract from my D.C. employer—this safety net gave me the courage to give the freelancing life a go. I didn't know what would happen, where I might find work, or how I would support my graduate-student husband after those initial six months. There were some frazzled times indeed (I continue to experience these from time to time), but I now have some regular clients and gigs that tide me through the thin times.

I follow what I call the Introvert Marketing Plan (IMP). It's quite simple: I make one contact a day, every single day. I know some people who set aside one morning a week for marketing. That wouldn't work for me. I can always think of 89 reasons to not market myself. So instead, I make one contact a day. I give myself lots of latitude in this. The contact could be made via phone (which I hate to do), letter, or e-mail. It could include mailing a query letter, writing an introductory letter/package, sending samples to someone, answering an ad, or simply getting in touch with an old colleague. I still practice the One-a-Day rule, and I am convinced it pays off. It keeps my name in front of people, and I can make contacts in a nonthreatening manner.

When I moved to Seattle, I signed up with a temp or contracting agency that placed editors and proofreaders at Microsoft. I worked on things that didn't fascinate me (software manuals), but I was excited about actually being able to use my editing skills.

During my three-month Microsoft contract, I sent my résumé to a local publisher. I got one small project but then no more. About six months later I sent them an updated version of my résumé and called to follow up. They said they had a big chunk of word processing they needed done on-site -- entering copyedits that had been marked on hard copy (this was 1993, before online editing). I was happy to do it.

While I did the word processing, they were able to observe me and conclude that  I was sharp enough to be trusted with copyediting. They also gave my name to other publishers who called them looking for good copy editors/proofreaders. I met a very established freelance copy editor who referred work to me that he didn't want. And I had an informational interview with a newspaper copyeditor, who ended up employing me to sub for him when he went on vacation for a month. All these factors helped provide work in those challenging early days. 

Then I got offered another assignment at Microsoft. But if I took it, I wouldn't have time to do freelance work and continue developing my freelance career. I took a deep breath and said no. I had some savings in case things didn't work out, but it was still a bit like jumping off a cliff and trusting that there would be a net below. 

Here are a few general pieces of advice I always give would-be freelance editors, based on my experience:

For more ideas on marketing, click here.

  Do you have any experience with editorial internships? What are the advantages or disadvantages, and how valuable would it be for a newcomer to freelancing to seek out such an internship?

I took an editorial internship with a local magazine and CBC Radio in Canada while working on my degree. It was very valuable to explore the different media. I discovered I was unfit for radio because the pace was too fast, and I loved magazines because I loved the complementary elements of graphic design and photography. It is very valuable to intern or volunteer a few days a week in a range of media to see where your talents and interests can be most engaged.

I think the opportunity to be around more experienced editors and learn from them is invaluable. Even doing the word processing for the book publisher  was invaluable, because I got to see a copyedited manuscript-- see how the editor marked the copy, worded queries, made a style sheet, and so on.

It might be a better idea to actually get a foot in the door of a major nonprofit organization as a receptionist or file clerk or anything at all before going for the internship. Once you're employed full-time in an organization, you have a chance to move up if you're ambitious and motivated.

I started at a large nonprofit and worked my way into an editing position. I gave my personal business card to the head of publications and marketing, who eventually hired me to work in her department in a non-editing position. As time passed, I was allowed a chance to proofread materials. Eventually I became the editor for that department and then migrated into another department.

Large nonprofits provide a unique opportunity to gain experience in editing. The work flow tends to be challenging, and if you're motivated and committed, you at least stand a chance of having an opportunity to do substantive work, as departments are often hard pressed for help, and thinly stretched budgets often prohibit the hiring of outside professional editors. For the best opportunities, try to find large nonprofits that are expanding, young, or just starting out.
 

I recruited and hired interns when I worked at KCTS. These were nonpaying internships, and several of the interns have gone on to full-time writing and editing jobs. Some were in college; other interns were making career changes. The interns were exposed to all facets of publications, but copyediting was always with a paid contractor.

The only experience I have with internships is through the interns that I hired. I think an internship is extremely valuable. One intern who worked with us ended up doing freelance work for us after graduating from college.

  Is it worthwhile for someone breaking into the market to do a mailing (or similar outreach effort) to the larger publishing firms, to the smaller ones, to periodicals, or to other potential employers? Is there a more effective approach?

For me, mass mailings were always the least effective. I would use directories of publishers and magazines, and make contact with the person who could give me work. I almost always chose companies that published what I felt was worthwhile to print. Smaller companies were easier to break into because there was less administrative protocol. Then I would send my résumé and writing/editing samples, and follow up with a phone call in a week or two. I would try to set up an informational interview or ask for a few minutes of their time to "put a face to the paper."

I call this the Zen of Freelancing. After a while, seemingly from out of the blue, you connect with the right client at the right time.

Most of my jobs have come through referrals, so I've never done a brochure. I did not respond well to brochures when I was hiring freelancers, either. I think a cover letter and a clean, concise résumé are just as effective. If you have an e-mail address for a potential client, you could write a two-sentence query asking if you could send a résumé via e-mail.

Mailings are fine. Most of the people that I hired or worked with came through recommendations and word of mouth. There have been a few cold-call letters that I have received from freelancers that resulted in assignments. The key is networking. Attend functions, join associations, ask friends and family if they know anyone in the business, and get in front of people and introduce yourself. Almost everyone I know in the publishing business either came to me or went on to other jobs through connections.

I've had mixed results with this approach. I recently sent a brief letter and my resume to a bunch of publishers, inquiring about opportunities for freelance editorial work. About 15 percent responded favorably, but I haven't been contracted for any projects yet by these publishers, so the success rate remains to be seen. The most effective approach for me has been through networking, word of mouth, setting up informational interviews, and introducing myself to potential employers. I have found that when clients like what I do, they are very loyal, coming back to me again and again with future projects.

Aside from my first client, I have gotten the vast majority of my clients through referrals from other clients or other editors. Clients are nervous about who’s going to be marking up their document, and a personal assurance that “I worked with this person, and she was good” seems to almost always win out over a résumé. I’ve tried sending résumés to various potential employers and following up with calls, but I’ve seldom gotten a job from that; when my name was later given to them by another editor or publishers, though, they’d call me.

I do know at least one person who had good success with doing a mailing and follow-up calls, however—by which I mean he got a client or two to begin with, and talked with another two or three who asked him to call back in the future, and eventually (over a year or two) developed a wide range of clients, so that now he has as much work as he can handle. It takes time.

I think it’s almost useless to just send a résumé and not follow it up with a call. Being friendly and/or a good schmoozer also seems very helpful in getting useful information from the calls. 

  What skills besides editing (e.g., desktop publishing, journalism, graphic design, technical writing, science writing, schmoozing) most enhance one's value in the marketplace?

I think journalistic training/experience is invaluable. That proves that you can take any subject and present it to the general public. I'm leery of employers who want their editors/writers to do design. (I am a design snob, however, and will go to my grave defending graphic designers. I wouldn't expect a designer to write/edit, so why would we expect an editor to design?)

In addition to being a skilled editor, it helps to be a flexible, friendly person. I enjoy the books I work on and the people I work with—I make sure they know that.