Members Meeting Topic

Confessions of a Freelance Editor

An unexpected invitation to give a talk about freelance editing to the Seattle Writergrrls this spring launched me into a panic, knowing that I might have to reveal that someone in my profession loathes grammar discussions. I know grammar because it is a part of language important to my craft, but I would much rather talk about something I had learned through my work than the work itself. Understanding matters of style and the nuances of common usage is essential, but not nearly as interesting as something that many budding editors want to know: how a person can make money at freelance editing.

With the help of three editor friends, I put together a decent list of tips and itemized some of the problems that freelancers encounter. Our brainstorming revealed two important points: Our clients highly value our training as editors and our work comes through established contacts.

Training helps people in the publishing business to become good editors, and it's something that I would recommend to any writer hoping to launch a freelance editing career. On-the-job training is desirable, of course, because the editor is paid to learn in a professional setting, but there are other ways to show a client that you have experience. Volunteer projects and publishing courses offer opportunities to build the all-important portfolio. One of the most well known publishing courses-and a great place to network with publishing professionals-is the Stanford Professional Publishing Course in Palo Alto, California. Other universities offer similar courses. Beyond formal education, another way to begin is to work as a proofreader, developing copyediting skills and learning how to use a style book or follow a style sheet.

The ability to secure freelance work depends upon business contacts or direct referrals. As a freelancer, I have applied to ads, but have never gotten any work from them, and have rarely even received a reply. In my own corporate days, I too only hired editors whose work I knew, even though I had a slew of resumes filed away. There's a good reason why the business is contact based. Publishing houses always run on tight schedules and by the time the work gets to the freelance editor, there is usually not much slack in the timeline. So managing editors or producers have to get someone fast, and since there is so little room in the schedule they can't afford to take chances with an unknown quantity like a new freelancer. As a result, they do their best to hire someone they know-or have heard-will do a good job and get the work in on time.

Even if an editor starts with only a couple of contacts, sparse assignments are likely to blossom into more work from other people. Ours is a transient business, so the people you knew at one company often go to other companies and take your name along with them. There are several ways to establish and maintain contacts. Begin by announcing that you are "going freelance." Make up a list of people you know who could possibly give you work-this includes people with whom you are associated or with whom you have worked in professional organizations, like Writergrrls. Write your announcement, print your new business cards, and send them out to everyone on your list. Some people send them to everyone they know, but I would recommend concentrating first on the people who know your work best because they are the ones most likely to give you-or refer you for-a job.

When you let people know you need work, word gets out and your name gets passed along. And once you start, don't stop: The best time to send out the word is when you are busy because you will make a better impression on people if they reach you when you are really on and sharp and happy and optimistic about your business. Then, keep in touch with people throughout the year through e-mail or phone calls. It's easier to keep in contact with old friends and co-workers, but remember those whom you don't know as well by at least contacting them in down times and letting them know you are available. Most people don't mind an occasional note and some even appreciate it because they are busy and can't keep track of everyone. Sending out your updated resume provides a good reason to make contact and can also remind people of your special skills. Another reason to reinitiate contact is for any change in your address, phone number, or e-mail address.

And don't be afraid to approach a potential new client directly. Sometimes, a temp agency or human resources department might not recognize your skills in the same way a hiring manager will, and you wouldn't want to get filtered out of the candidate pool for that reason. But be careful, as not all managers like to be approached directly. It's best to have a contact who knows both you and the potential client and will serve as an intermediary, passing along your name or resume. Then, the client will contact you if interested in your work.

Freelancing has its problems, and as directors of independent organizations, freelancers must handle these issues efficiently and professionally. What happens, for example, when the manuscript is in worse shape than the project manager thought and you have to go through the delicate task of asking for more time and more money? The stronger your communication skills are in this instance, the better. Sometimes you may feel you need to absorb some of this extra cost-usually because it's a new client that you want to keep-but some clients will come up with extra money and a deadline extension if you just ask for them.

You will experience work slumps that are not predictable, and clients sometimes cut their rates. One of my clients cut its rate in half after it was acquired by another company. Your best defense in this case is to establish your rate and try to stick with it. Sometimes you may feel the need to work for less to get a new client or because you don't have anything else and need the money. But bear in mind, especially if you have a second income in your household, that if you keep yourself busy at a lower rate, you make yourself less available for more interesting and better-paying opportunities.

Isolation is a problem for some people. To battle against it, I know people who try to see clients and professional friends as often as possible and also try to go for a workout during the day. As with any line of work, it's important not to neglect yourself. Freelance editorial schedules don't usually leave time for illness or emergencies. Balancing family and office time can be a challenge, but everyone I know has made it work.

Making it work involves savvy determination and creative professionalism. Try freelancing before you quit your job so that you can see if you like it, establish your contacts before you throw yourself into it completely, and comfortably build up a cash base. Consider reducing your workweek to three or four days so that you can maintain benefits and some economic security while you begin freelancing. Building a cash base is important because you'll need money to get you through lean times. Some freelancers I know also keep a back-up job to get them through these rough periods.

A cash base is also important because it takes weeks to get a check and then it all comes in one lump sum. For the purposes of cash flow, you'll need something you can tap into for weekly expenses and quarterly taxes. Tax and health insurance issues are key considerations for a freelancer. You should set aside from 25 to 30 percent of your income for tax purposes in your first year until you determine whether your deductions require that you set aside less. Be sure to set up a separate savings or checking account for your business, and to help organize your bookkeeping, leave an envelope in your desk and place all business receipts in it after recording the totals. Try to keep up with the recording so it doesn't become an onerous task at tax time. And remember that health insurance in Washington can be problematic. When I arrived about three years ago, I was able to buy insurance for my family at an affordable rate, but since then the laws have changed, and it is no longer easy to get insurance as an individual.

A computer, fax and phone line, internet service, e-mail, and voice mail are vital-dsl or cable, too, if you anticipate targeting online work-but aside from that, don't feel you have to arm yourself with all the latest communication devices just to get started. Keep in mind that a firewall is a good idea with all the hackers trolling about in cyberspace. Some people also use virus-detection software, while others prefer a type of back-up software that allows them to return to the computer set-up that they had before they crashed or had a problem. If you submit work and invoices electronically, always ask your project manager to confirm receipt of your invoice. Sometimes people don't get (or notice) what you have sent, and this oversight can delay your paycheck considerably.

Try not to irritate your project manager. If you develop a reputation as a high-maintenance freelancer or as a complainer, your client may begin to look elsewhere for editorial help. Try to know your project well enough that you only have to ask questions once, and try to deal with everything else that comes up on your own. That's why you were hired. And when a job is completed, always ask for samples of your work. Clients often like to see the work you have completed and the finished product is much more impressive than the marked up manuscript.

Finally, keep in contact with your fellow editors. We're all running across the same problems and it's good to hear how others handle their difficulties. What more can I reveal about the true life of a freelance editor? The hour at which she finally pulls together her articles? Answer: Early or late, depending on how you look at it, but always on time.

The author gratefully acknowledges Mary Carvlin, Karen Ingebretsen, and Michelle Parsons for their friendship and expertise.