How Do Editors Find Work?

Pam, who hosted this Twitter chat, has an English degree from long ago and a University of Chicago editing certificate from 2020. She is part of the social media team for EFA. Find her at ebeforei.xyz.

Last year, EFA held a Twitter chat on finding editing work. How to find work is a recurring question editors encounter on social media. About two dozen EFA members and other tweeters provided expertise in this chat, which yielded tons of advice for new editors.

VARIED WAYS TO GET WORK

A common way editors find clients is through former jobs, whether in publishing or not. Chatters talked of leaving in-house jobs and later being asked either by the company or by a former colleague to do freelance work. One said her first client was referred by friends of an author she’d worked with in-house.

Friends and family are popular avenues, even if they themselves don’t need editors. If your uncle knows someone who is writing their first book, that person could become your first client. Others talked of getting work from people on Facebook.

The word networking can sound shallow. One person described communities—of editors or genre writers or even hobbies. Once you’re sure it’s a good group for you, invest your time. Get to know people. Volunteer. Be yourself.

Presence on social media pays off for many editors. One chatter got work from an author who liked a meme she shared on Facebook. Another tweeted about archeology digs and her diploma in Egyptology, which led to work from an Egyptologist. However, one or two editors commented that social media hasn’t led directly to jobs. Consider how you want to use social media for your business. Networking? Providing advice in writers’ forums? Learning about industry trends? Or do you simply want to use it for personal reasons and identify yourself as a freelance editor in your profile?

Luck plays a powerful role in finding work, such as when a librarian overheard one person say she was an editor and gave her a job lead. Then there was the time one tweeter heard a production editor at the next restaurant table complaining about bad editing—and rushed to swap information. Remember that what we think of as luck is actually preparation coupled with being in the right place at the right time. Be brave.

Ask publishing houses if they are adding to their freelance pool or if you can take a proofreading test. Whether cold emailing or answering a call for freelancers, anticipate taking some editing tests. However, chatters pointed out that an editing test is one snapshot in time. Don’t dwell on it if you don’t do well on any given day.

Some chat participants talked of getting work from freelancing work platforms (e.g., Upwork or Reedsy). Others cautioned that the low pay and high competition on such sites might not be worthwhile. The ones who reviewed these platforms most favorably seemed to have short-term strategies.

Having a website is useful as a home base. Some editors say website inquiries have led to jobs, while others use it as a place to refer potential clients after they’ve made contact. Developing a career without a website nowadays appears to be the exception, rather than the norm.

Use your association memberships to your advantage. The EFA job list is a source for leads. The experts said keep applying when you’re qualified and don’t get discouraged. Be ready to apply quickly after a posting is distributed. Keep your profile in the EFA directory updated. Find job leads through your former training programs and other associations. A couple of editors recommended the site Media Bistro. Regional or local editing groups can be useful.

You might need to stretch your comfort zone. Stay in touch with former colleagues and professors. Tailor your bio for different potential leads. Even if you do take jobs a bit far afield, specialize quickly. It helps you introduce yourself to say you edit academic nonfiction or you are a developmental editor for fantasy and science fiction.

Finally, one chatter advised letting everyone—everyone—know you’re a freelance editor.

WHAT NOT TO DO

DON’T read an error and then contact the author to point it out. It might have been a style choice (i.e., you might be wrong), or it might have been a result of a mistake out of the author’s control. The production team has probably noticed it and moved on to other work. Regardless, embarrassing people into hiring you isn’t appealing.

DON’T think that once you’ve built a website, you’re finished with seeking clients. Marketing yourself is a perpetual need.

DON’T network in the wrong place, whether that’s a literary fiction writers’ group when you edit genre fiction or business owner gatherings when you want to edit for associations. Once you realize it’s not a good fit, move on.

DON’T ask random editors online for referrals.

DON’T do any self-promotion you hate doing. People cautioned against blogging or attempting a content marketing strategy if you aren’t going to be consistent. (But if you love doing that stuff, go for it!)

TRAINING

An English degree is often not enough to be a good editor. Some editors have found that intensive editing program certificates are useful. Others have found plenty of work without them. However, the confidence a new editor gains from getting training can lead to better editing and better marketing. If you have no experience, do get training.

Read editing books. Growing as an editor helps both you and your clients. Take courses in continuing education, a signal to clients that you take seriously your duty to keep up with changes. The EFA has a slew of affordable webinars and classes.

RETAINING CLIENTS

Several chatters commented that returning clients are their main source of work. Once you have clients, take care of them. Provide good quality work on time. Develop a relationship of mutual trust. Be professional and communicate clearly. Learn how to work well together; start by asking how often they want to hear from you. Own your mistakes. Let repeat clients know when you will be out of town—but also when you have time available. Avoid underestimating the time a job will take. Be honest with yourself and with the client. Have reasons for your edits, and be prepared to make your case if you recommend substantial fixes.

Many of these recommendations are simply good business practices. Remember that the editor–client relationship can be quite personal. Writers often pour their souls into their work. Learning to be respectful and navigate relationships with clients is a key part of becoming a working editor.

Thanks to all the editors and tweeters who participated in the chat!