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.
