Starting Your Career as a Freelance Editor

A Guide to Working with Authors, Books, Newsletters, Magazines, Websites, and More

Mary Embree

• Publisher: Allworth
• Year: 2012
• Print ISBN: 9781581158908
• eBook ISBN: 9781621535973
• Topic: Languages & Linguistics
• Subtopic: Authorship
• Index: Languages & Linguistics

If you've ever considered editing as a career, this book will help you on your new path. You'll learn about the requirements in various fields, how to get started, the step-by-step facets of setting up and conducting your editing services, working with writers and publishers, promoting yourself and your expertise, and determining what to charge. In addition to books there are articles, dissertations, brochures, reports, abstracts, editorials, reviews, ad copy, and much more.There is more to making a living as a freelance editor than correct English usage, sentence structure, and grammatical construction. Here, you'll learn what you need to know to decide on a specialty and how to manage the business side of your career.

1

Making the Choice

Is editing the right career choice for you? If you find errors in just about everything you read; if you notice typos, misspellings, inconsistencies, redundancies, poor grammar, and bad punctuation; and if you have discovered mistakes in books by major publishers and wondered how they got past all of the editors who examined the text so carefully before it went to print, you just might be a natural editor. And if you have been accused of being a perfectionist or, worse, a nitpicker, well, congratulations! That’s what it takes to become a good editor.

Editing can be as creative as writing. When we edit we must examine every facet of a manuscript, including the ease of reading it. In that way it is similar to writing. A fine editor goes far beyond catching errors. She must be knowledgeable about styles, genres, writing principles, organization, format, and appropriate language for the type of writing she is editing. She must know how to stay in the author’s voice even as she makes corrections. Editing is providing the finishing touches, polishing, and bringing out the best a piece of writing has to offer. An outstanding editor might be called an alchemist—one who possesses a seemingly magical power of transmuting a common substance of little value into something of great value.

THE DECISION TO BECOME AN EDITOR

How can you determine if a career in editing is right for you? There are a number of qualities you need to have to be a successful editor. Here are some questions to consider:

Do you have the training and/or experience to do it well?

Like writing, editing is not easy. And anyone who thinks it is can’t possibly be good at it. You must have an excellent command of the English language. You need a thorough knowledge of styles and you must have stylebooks used in the field of writing you are editing. You have to understand current publishing standards and have the ability to conform to those standards without changing the author’s intent or voice.

Do you enjoy editing?

H. G. Wells once said, “No passion on earth, neither love nor hate, is equal to the passion to alter someone else’s draft.” And I must confess that I am passionate about trying to make the writing the best it can be. The only job I like better than editing is writing.

Editing isn’t always fun. Editing can be tedious, especially when we don’t care for the subject matter. However, maintaining enthusiasm for the author’s work is essential, if we are to do a good job for our client. When I am editing something that I don’t find very interesting, I try to think of it as a word game. I enjoy crossword puzzles, word quizzes, and cryptograms and I like to think of the manuscript I am editing as that kind of intellectually challenging work. It helps to keep me interested.

Usually, though, I actually do enjoy the writing I am editing. I am constantly learning new things. When I edit how-to books I am getting an education and getting paid to boot. When I am editing a good novel, I am also being entertained. I love my job. But the most important thing I’ve gained, personally, by all the editing I have done is improvement in my own writing. Editing has definitely made me a better writer.

Do you like detail work?

Editing takes a lot of concentration and the humility to acknowledge the fact that you don’t know everything. You have to be able to determine when you need to check on something in the text, such as the spelling or definition of a word. You need to have the patience to examine everything about the manuscript from sentence structure to content and continuity. You must look for such mistakes as too many spaces between words, a missing period at the end of a sentence or, as I have frequently noticed, more than one period. You must know when a title should be in italics and when it should be in quotation marks—and you have to be sure that whichever it is, it is consistent throughout the manuscript.

Because the English language is so eccentric, I always look up the spelling of words that I am not sure of. I think I am a good editor but, if I am, I believe it is partly because I realize that there are things I don’t know—or can’t remember. Then I go to a higher authority, such as Webster’s Unabridged Dictionary. Not trusting my memory may show a lack of self-confidence, and I am quick to admit that I am not perfect. However, an over-confident editor is an editor who makes mistakes and doesn’t even realize it.

Are you comfortable working with writers?

The likelihood is that you will be working directly with the author at some point in the process. When your employer is the author you will be communicating with him on a regular basis. You must be able to relate to the author as a person, not just a client. Because I want the author to feel good about the process, I try to establish a comfortable working climate as well as a trusting business relationship. When you can think of your client as a friend and a partner you both will find the job more enjoyable. After all, both of you have good reasons to make the work the best it can be.

If on the other hand, you find that you have an immediate distaste for the material or lack of respect for the author, it’s best not to take the job because that almost always signals trouble ahead. To continue under those circumstances is to do a disservice to both of you. Harold Ross, editor of The New Yorker, is quoted as saying, “Editing is the same thing as quarreling with writers—same thing exactly.” Perhaps that is true for some editor/writer relationships but I don’t like to work that way.

There is more about working with writers in another chapter.

Are you willing to learn more about styles and genres?

Even when you are not getting paid to do research, you will need to learn new things to do your job well. When I am editing a novel, I buy (or borrow from the library) a recent bestselling book in the same genre as the one I am working on, such as a mystery, and read it in the evening when I am relaxing. I study how the author has set up his book, how he has foreshadowed events, where the climax and anticlimaxes are, and so forth. Although I will probably never write a mystery novel myself, I want to see how it is done when it is done well. It helps me to know what to look for in my client’s book.

The same is true for any genre. If you are editing a self-help book, check out a few from the library and examine them to see the style the authors are using. There is a way of teaching, which self-help books seek to do, without preaching. For example, it is important for an author not to come across as being a know-it-all. Readers do not want to be talked down to as though the writer were preaching from a pulpit or standing on a pedestal. The author needs to place the reader on the same intellectual level as himself by frequently using words like “we” and “us” instead of “you” and “your.” Here is an example of this from an excellent book titled Emotional Comfort: The Gift of Your Inner Guide that I edited for Judith Davis, MD, a noted psychiatrist and psychoanalyst.

We have formed many habit patterns, some of which are very adaptive, others of which are less so…. We take them so for granted that even when they cause distress, it often doesn’t occur to us that there may be other solutions.

Notice that she is talking about things we all do, including herself. As editors working with writers, we must be careful not to put ourselves on a pedestal. It is okay to say things like “You should avoid redundancies.” But I suggest you also mention, “It’s easy for writers to repeat sentences without realizing it. When we have rewritten our book a number of times we can’t always recall saying the same thing in a prior paragraph.” I often tell my clients that I have made the same mistake they made and that I am always grateful when my editor catches them. Some writers lack self-confidence about their writing and adverse criticism might discourage them.

Experience in other occupations can help you in your new career as an editor. Being a writer will help you be a better editor because you will have constantly confronted the need to be accurate, clear, and consistent in your own writing.

If you have done professional researching you will find editing much easier because you will know when and how to get important information that relates to that which you are editing.

And, of course, if you are a professional teacher you will find editing gratifying because you are also teaching the writer how to write better. You will be used to reading and grading your students’ papers and showing them better ways to communicate.

So the message here is to use the experience you already have when you edit and look for ways to learn more. By constantly improving your knowledge you will become a more accomplished editor.

The examination of the above traits could help determine whether you are ready to launch your new career as an editor. And if not, you will have a better idea of what more you could learn to prepare yourself.

THE DECISION TO FREELANCE

Is freelancing right for you? It certainly isn’t for everyone. Starting a career as a freelance editor is similar to starting a new business where you are the sole proprietor. It takes more self-discipline to work for yourself than to have a regular job working for others. How many of the following questions can you answer in the affirmative?

Are you a self-starter?

Not everyone can make a living freelancing no matter how intelligent or well trained they are. It takes a lot of self-discipline to get up early and get down to work each day even if your office is just a few feet away from your bedroom. And there are always things that must be done when you work for yourself. The rest of your life must be placed on hold while you are working. You can’t run out to buy those shoes you saw on sale if you have a deadline for finishing the editing of a client’s book, even if the shoes might be gone by the weekend. Your client must come first.

Working for yourself doesn’t mean that you can take off whenever you feel like spending your precious time putting your golf club to the ball instead of putting your nose to the grindstone. If you don’t want to devote five or six full days a week to doing your work, your days of making a good living as a freelancer may be far away. In real estate it is location, location, location. In freelancing it is discipline, discipline, discipline. Procrastination is the death knell to a freelance career. You can only put a client off for so long before that client starts looking for a more dependable editor.

Are you good at time management?

One of the greatest challenges for freelancers is managing their time. With no one to tell you what to do, you must decide each day what your priorities are, set a schedule for yourself, and stick to it. You will have set aside the time to do the billable work necessary to generate an income. Unless you have a secretary, file clerk, and runner, you will have to do everything yourself.

Even if you have your office in your home and you have no small children who need your attention, there are always distractions. The dog wants out, the cat is climbing the screen to get in. The next-door neighbor wants you to feed her fish, water her plants, and pick up her mail while she’s on vacation. After all, you are there all day every day. It wouldn’t be inconvenient. Your best friend cut his hand while trying to fix the lawnmower and needs someone to drive him to urgent care immediately. He has no one else to call. Everyone else is at work—away from home in a real office. How can you say no? The sad fact is that when you work at home, no one thinks you are really working.

Friends call and want to chat in the middle of the day. You don’t want to be rude to them but you find yourself constantly saying, “Can I call you tonight? I’m on a deadline.” They reply as though rebuffed, “Well, I am so sorry I bothered you.”

Time never seems to be on your side. Too often you have to decide between being a good friend and neighbor or making a living.

If you live in California and some of your clients are on the East Coast, you may have to get up earlier than you are used to—like around five in the morning—to call or email them. After all, five o’clock for you is eight o’clock for them and they have already started their day. And it’s only two o’clock in the afternoon in California when it’s quitting time in New York. If you choose to sleep late you might narrow that window of opportunity to reach an important client who could be gone for the day when you are just having your first cup of coffee.

Are you well organized?

To make a good living freelancing you have to be well organized. If you are comfortable planning weddings, hosting a neighborhood barbecue, planning an itinerary, or forming a club or nonprofit organization, you must be a person who is well organized. You know how to plan and schedule an event, get people together, find a meeting place, order the catering, and all the other details necessary to pulling it off.

Freelancing is similar, except it isn’t just an occasional happening, it requires organizing your personal life and business activities every day. It requires daily planning as well as long-range planning.

To keep track of all of my appointments, business and personal, I have a dry-erase board on the wall over my computer where I mark all of my upcoming activities for three months. As things change, I can update it instantly. You will probably find that making a list of all the things you need to do each day will help to keep you from missing deadlines and putting off some of the more boring tasks that you need to do. In my case, the boring tasks are filing and keeping my office organized. And I have to admit that I neglect them until it gets hard to find anything. That chore should go on your list at least one day a week.

At the top of my daily list are things that need to get done in the morning. Among them are making phone calls to New York and other cities where it is three hours later, working on manuscripts that have a deadline, answering emails, making appointments, and calling to confirm any appointments I have for that day. I reserve an hour for lunch and I put that on my schedule so I won’t get caught up in work and forget to eat until my stomach starts to hurt. My afternoon is reserved for writing and editing. I schedule trips to the bank, post office, and office supply store for late in the afternoon. Often, when I have to go to the grocery store it is in the evening.

I go over my priorities in my mind at night just before I go to sleep. I think of the problems I need to solve and tell myself that I will work on those during the night as I sleep and then I will awake the next morning with the answers. This isn’t just wishful thinking. I read recently that REM sleep...

Table of contents

• Cover
• Title Page
• Copyright
• Contents
• Introduction
• Chapter 1 Making the Choice
• Chapter 2 Getting Started
• Chapter 3 Careers in Editing
• Chapter 4 Marketing Your Services
• Chapter 5 Working with an Author
• Chapter 6 Styles and Usage
• Chapter 7 Editing Principles
• Chapter 8 Methods of Editing
• Chapter 9 The Well-Rounded Editor
• Chapter 10 The Business of Freelancing
• Chapter 11 Preparing Your Office
• Chapter 12 What Should You Charge?
• Chapter 13 Legal Matters
• Chapter 14 Maintaining the Momentum
• Chapter 15 Self-Publishing
• Resources
• Glossary
• Index