The Business of Editing: A Fifth Fundamental Business Mistake That Editors Make

Profit & Business Model

A business has to either be profitable so that its owners can earn a living or it has to have investors who are willing to fund the business for years and let the business lose money during those years because of greater future profit expectations or the business has to go out of business.

The first option is usually the option of the freelance editor. We rarely can convince people to invest in our business and let us generate losses for years (the Amazon model), because of the type of business editing is — personal and hands on. Amazon sells goods; the goods are not unique and buyers of the goods do not care whether Jeff Bezos has ever touched the goods. Amazon sells to us based on customer service and price.

Editing, as we know, is different. We are usually hired because of our skills (there are semi-exceptions as in my business model in which clients hire me because of my skills and because of the skills of the editors who work for me) and those skills are hands-on skills. We are hired to read each and every word and pass judgment on the words, the sentence structure, the grammar, and so on. Editors are hired to exercise judgment and improve a product; we do not expect Amazon to edit the book we buy from it.

As a result of this difference, Amazon can go years without making a profit, but freelance editors cannot. And Amazon can get people to invest money in it based on a not-written-in-stone promise of future rewards; outside editors themselves and immediate family, it is the rare person who will invest in an editor’s business with the expectation of a future profit.

Yet there is something in our business model and in Amazon’s business model that is identical (aside from the need for stellar customer service): We both need data to determine how we are doing and what we should be doing. The types of data we need are different, but we both need data.

Why Collect Data?

And this is where editors make a fundamental business mistake. Many editors simply do not collect data or if they do collect data, they make no business use of it. Yet data can tell us lots of things about our business. For example, data can tell us whether

• a client should be kept or fired
• certain types of projects should be avoided or sought
• we are charging too little or too much
• our focus is wrong or right
• we need to start a marketing campaign now or can wait
• our marketing campaign is a success or failure
• making an investment is likely to increase or decrease our profitability
• subcontracting would be a smart or dumb direction to go
• and myriad other things

— all we need to do is gather and explore the data.

We’ve discussed several times how to calculate what to charge (see the five-part series, Business of Editing: What to Charge), but knowing what you need to earn and charge does not necessarily equate to profitability. It is not difficult to have calculated the rate you need to charge, charge that rate, yet be unprofitable. That’s because knowing what to charge is only part of the necessary information.

Consider the type of editing you do. I focus on long manuscripts, the longer the better, preferably 1,000 manuscript pages or longer. Offer me a manuscript that runs 15,000 pages and you will make me happy. Over the years I have been professionally editing, I have collected data on hundreds of projects — in fact, on every project that has passed through my office. Among the information I collected was project subject matter; whether single author or multiauthor; number of manuscript pages (which was calculated using my own formula); the time it took to complete the project; the number of projects I was offered, indicating the number I accepted and the number I turned down; the reason for acceptance or rejection; and the fee I was paid. (I gathered other data, too, but for our discussion, this list is sufficient.)

Analyzing Data

From this data, I learned what manuscripts were likely to be profitable for me. It is important to remember that we are not all alike; that is, what is profitable for me may be highly unprofitable for you. What is important, however, is to know whether what you are doing is, in fact, profitable for you.

Editors focus on editing — it is what they know best and what they feel most comfortable doing. But freelancers wear multiple hats. Not only do they wear an editing hat, but they wear the business owner’s hat. When wearing the business owner’s hat, editors need to assess their business objectively. It does not matter whether they love or hate editing; what matters is whether they are running a profitable business. To make that determination, editors must objectively collect and analyze data about their business.

One of the most important bits of data is time. How long a project takes to edit — not approximately, but exactly — is key information. It is information that is used to determine your effective hourly rate as well as the number of pages you can edit in an hour. It also is information that is needed when giving a client a quote. An editor needs to know whether, as a general rule, a heavy edit means 2 pages an hour or 6 pages an hour, because that helps you determine the likelihood of profitability at different price points.

The Excuses

I have heard editors say that data collection isn’t all that important for them because they bill by the hour, not by the page or project. Contrary to such sentiment, it is equally important to collect data regardless of how you charge, unless your clients have unlimited budgets (and I have yet to meet a client who does). It is also important because in the absence of data, it is not possible to determine whether you are making a sufficient profit.

Editors have told me that they know they are making a sufficient profit because they are able to pay their bills, put a little bit away in savings, and have money for entertainment, and that they are doing this without collecting and analyzing data about their business. Accepting that as true, data collection is still necessary because you may well discover, for example, that you can earn the same but in less time and with less effort. Or you might discover after analyzing the data that although you are making a profit, you are spending more time and effort to do so than is warranted and that making some changes in your business would increase your profit but require less effort.

The Reason

Data collection is key to business growth and profitability. Data inform decisions; data provide a foundation for action. It is a fundamental business error to not collect as much data as you can about your business.

Richard Adin, An American Editor

Related An American Editor essays include:

• The Business of Editing: Fundamental Business Mistakes That Editors Make
• The Business of Editing: A Second Fundamental Business Mistake That Editors Make
• The Business of Editing: A Third Fundamental Business Mistake That Editors Make
• The Business of Editing: A Fourth Fundamental Business Mistake That Editors Make

Advertisement

The Business of Editing: A Fourth Fundamental Business Mistake That Editors Make

Flexibility and Accessibility

When someone is asked why they chose to be a freelance editor, quite often the response centers on flexibility — the idea that freelance editors can set their own schedule. Need time to watch a child’s soccer game? No problem. Need to schedule a doctor’s appointment? Again, not a problem.

Flexible scheduling is nice in concept but the schedules of freelancers aren’t really all that flexible. Sure we can do our work in the wee hours so we can attend that soccer game, but we still have deadlines to meet and it is those deadlines that dictate how flexible our schedule truly is.

When we focus on the flexibility of scheduling, we tend to forget that we are a business and that there are certain expectations that those who would make use of our services have about our schedule. The mistake is not the flexible schedule but the failure to make ourselves accessible as expected by clients. Flexibility and accessibility are not synonymous. Ideally, we can combine flexibility with accessibility.

One hallmark of a business is hours of operation. We know, for example, that the brick-and-mortar repair shop where we take our automobile opens at 7 am and closes at 5 pm. There are posted hours of operation and we know from experience that an 11 pm call to the business finds it closed — and often gives us the message that the business opens at 7 am. We get these same types of messages from online stores — you can make purchases 24/7 but customer service is open only during posted hours.

Granted that our business is not like an auto repair shop or an online retailer, but client expectations are similar: Clients expect to be able to reach us during “normal” business hours. Our flexibility is in what constitutes our business hours, not in our accessibility during those hours.

Accessibility Is…

This does not mean that we need to be accessible 24/7; it does mean that we need to be accessible during set, established times with occasional exceptions. It also means that, depending on who our clientele are and who our target audience is — that is, what our target market expects — when a client contacts us when we are not accessible, the client should receive a message saying when we will be accessible. For example, in response to an email inquiry we might autoreply, “I am sorry to have missed your email. My office is currently closed but will reopen at 9 am local time tomorrow, at which time I will respond. However, if you believe it is vital to contact me before that time, please.…”

Clients have problems that they want us to solve. They do not want to wait to know that they can entrust the problem to us or that they need to look elsewhere — our client’s goal is simple: assign the problem to a problem-solver as quickly as possible so that it is off the client’s list and on someone else’s list. Consequently, clients want to be able to reach us during known times; that is, they want to feel assured that if they wait to contact you during what they expect your business hours to be, that they will, in fact, reach you at that time — without that feeling of assurance, clients simply move to someone else, to someone who is accessible as expected.

Accessible today — at least in my business — usually means by email; I rarely receive a telephone call anymore. In olden days, clients wanted to be polite and chat for 60 seconds before getting to the point of the call; today, they want to avoid “wasting” those 60 seconds, just as we do. (I admit that I have a certain nostalgia for those olden days when chatting with my clients let me learn how their children are doing or learn about the wonderful time they had in Paris. It “humanized” what was otherwise an isolated experience by providing a watercooler moment.) The advantage of email is that it is a 24/7 nondisturbing way to contact a client or an editor.

Expectations

But there is also an expectation that when the client sends an email to me during my business hours, I will respond quickly — not in hours, not tomorrow, not when the client is not available, but nearly immediately. If I am accessible, I do make it a policy to quickly respond, even if it is to say something like, “I received your email and will give you a detailed response within the next 2 hours. If you need my detailed response more quickly, please let me know and I will address your email immediately.”

The issue of accessibility does go hand-in-hand with contact information, which we previously discussed (see The Business of Editing: A Second Fundamental Mistake that Editors Make). A reason to provide contact information is to make yourself accessible to clients. But it does no good to provide that information if the client cannot actually reach you. The counterargument is that clients who email do not expect a prompt response; clients know that the editor may not be accessible. Of course, we don’t know that as fact; we assume it is true because it fits within our needs and what we would expect.

I think that counterargument had more merit in past years. Increasingly, I receive client emails for “routine” jobs that have been sent to several editors and include the statement that the first to respond positively to the job offer (by which the client means the first who says he can meet the schedule at the offered price) will be awarded the job. If I wish to compete for those jobs, then a quick response, which means I am accessible, is required. (Fortunately, most of my work is “nonroutine” and clients seek me specifically for my editorial services.)

Clients with questions related to a job I am in the midst of editing also want their questions answered today and quickly, not tomorrow. (The Internet has altered greatly the concept of patience. Just as people wonder why they have to enter multiple clicks to buy an item instead of a single click, so they wonder why I can’t answer their email within a few minutes. Patience — meaning patience of hours rather than seconds — has become a lost virtue.)

Successful businesses are accessible to their clients and meet their clients’ expectations of accessibility. Freelance editors are as subject to those accessibility expectations as any other business. We have so much competition that clients do not need to be patient; clients can make multiple simultaneous requests and deal with the first responder, or they can internally decide to wait an hour for your response and if one is not forthcoming, seek another editor.

The Key

Consequently, we need to act like a business and set hours of operation that we mostly adhere to — and we need to let clients know what those hours are. Notice can be by posting on a website or by mentioning in correspondence; it doesn’t really matter, but it does depend on who you want to be your client — that is, who is your target audience. If I were seeking indie authors as clients, I would post that information along with my contact information at my website. With corporate clients, I try to have my accessible hours overlap my clients’ office hours and I let my clients know via email.

The key is being accessible when and how clients expect. Remember that we need our clients more than our clients need us. It is harder for us to find new clients than it is for our clients to find new editors. We need to approach this like Amazon does — by meeting our clients’ needs and expectations.

We need to avoid sending the message that we do not care or are not interested in our clients. We need to provide client-centric, not editor-centric, service. Failure to be accessible and to make known our accessibility as part of client-centric service is a fundamental mistake that editors often make.

Richard Adin, An American Editor

Related An American Editor essays include:

• The Business of Editing: Fundamental Business Mistakes That Editors Make
• The Business of Editing: A Second Fundamental Business Mistake That Editors Make
• The Business of Editing: A Third Fundamental Business Mistake That Editors Make
• The Business of Editing: A Fifth Fundamental Business Mistake That Editors Make

The Business of Editing: A Third Fundamental Mistake That Editors Make

Prelude

It’s time to buy a gift for your niece. You know what you want so you go to one of the price comparison websites and search for the item. Within seconds the results appear and you find three online stores have the item:

Macy’s $79.99
Big Joe’s Discount $59.99
Rita’s Marketplace $69.99

Although you are familiar with Macy’s, you like a bargain and so decide to check out Big Joe and Rita.

Big Joe’s website is plain-vanilla, spartan. There is an image of the product and a short description. Because you are not sure whether your niece will really like the gift, you look at Big Joe’s return policy and find it to be pretty liberal. The only requirement is that you contact Big Joe for a return authorization before making the return. So far, so good, you think, and now you look for contact information. Under Contact Us, you discover that the only way to contact customer service is via email — there is no telephone number, no physical address, just an email address.

So you decide to also take a look at Rita’s website. This is a more substantial website than Big Joe’s. The product description has more details and there are customer reviews. As with Big Joe, you check out Rita’s return policy and discover that it is similar to Big Joe’s and that a return authorization is required. You check how to contact Rita’s customer service and find that contact can be by email or by telephone with a telephone number and available hours listed. There is also a physical address listed.

Quandary

Now you face the question of from whom to buy the gift. Who would you buy from? When you buy something over the Internet from a company with whom you have not previously done business, do you buy if the only way to contact them is via email or a contact form on their website? Do you look for a physical address or a customer service telephone number? Does seeing a telephone number, a physical address, hours of operation, and the like make you feel more confident about the business?

Since the advent of email, I rarely get phone calls from clients or prospective clients — almost all contact is via email. Similarly, when I buy from an online business, most of my contact with the business is via email or the site’s contact form. But when deciding whether to buy from a business with which I have no personal experience, I look for things that give me a sense of confidence.

Which brings us to the crux of the matter: What is the purpose of our website?

Why a Website

I suspect that for most editors, the primary purpose of the website is to attract new clients who don’t know us and who aren’t being referred by their friends and family. If we are banking on referrals, then we really don’t need a website at all. Someone who has been referred will contact us — usually — regardless of whether or not we have a website. Instead, our website is intended to attract and capture the client who has used one of the search engines to look for editorial help, which is why there is so much concern and discussion about how best to design our website.

To snare that new business, we want to be sure to appeal to the customer. We know what our preferences are, but we do not know the preferences of the visitor to our site. Consequently, we generally try to make our website as appealing as possible. What we want to do is make it as simple as possible for clients to contact and interact with us.

Yet when we set up our websites, many of us do not list complete contact information. We have all sorts of reasons for doing so — we want to avoid spam, we want to avoid telemarketing phone calls, we don’t want people to know where we live in case they are criminals, etc. — even though we will provide that same information to other businesses and social media.

Sharing Information

Going back to our example, Big Joe doesn’t provide any contact information other than an email address. Yet if we placed our order with Big Joe, we would have to supply our name, address, telephone number, email, and, more importantly, our credit card information. We would have to trust that Big Joe is legitimate and will not use any information we provide for nefarious purposes. And we would do so because we have come to expect to give that information when we place an order.

Why are we comfortable giving that information to Big Joe and others who want to be paid by us, but are not comfortable giving that information (less the credit card information, of course) to people who want to pay us? A fundamental reason for being in business is to encourage others to buy our services and products, to pay us.

Fundamental Rule

A fundamental rule of business is this: You can always turn down or accept an opportunity that is offered, but you cannot turn down or accept an opportunity that is not offered. Consequently, the businessperson is focused on ensuring that opportunity comes knocking by removing potential barriers to opportunity. Yet editors find reasons to erect barriers.

In our three-business example, from whom would you buy? I know I would not buy from Big Joe. No one I know has recommended Big Joe and I don’t trust businesses that I can’t locate, can’t telephone, and was not referred to by several people I trust. I would consider buying from Rita because the contact information and design of the website give me confidence that this was a real business. Importantly, Rita is trying to meet my preferences, not forcing me to meet its preferences. I wouldn’t hesitate to buy from Macy’s because I am familiar with the company and it provides complete contact information.

Editors need to remember that we need the client more than the client needs us. As such, we should strive to make it as easy as possible for clients to engage us in a manner that makes the client comfortable. That we may currently have more business than we can handle doesn’t mean we will tomorrow.

Fundamental Error

It is a fundamental error when we make our business editor centric rather than customer centric. When we make decisions such as what contact information to include, we should strive to do so from the client perspective:

What information will a client want available as a prelude to doing business with us?

Richard Adin, An American Editor

Related An American Editor essays include:

• The Business of Editing: Fundamental Business Mistakes That Editors Make
• The Business of Editing: A Second Fundamental Mistake That Editors Make
• The Business of Editing: A Fourth Fundamental Business Mistake That Editors Make
• The Business of Editing: A Fifth Fundamental Business Mistake That Editors Make

The Business of Editing: A Second Fundamental Mistake That Editors Make

If you read your mortgage agreement, or the agreement you “accept” when you get a credit card, or the terms and conditions of any other contract you sign or agree to, you will note that all of the important terms are carefully, even if not intelligibly, defined. The bank, for example, wants no dispute over what default means.

Defining terms is a fundamental business practice. If you and the client do not define what is meant by copyediting, you may mean what editors generally define as a “light edit” and the client may mean an in-depth, detailed, developmental edit. You’ll quote your fee based on your definition and the client will expect its definition for the quoted price.

Let “error” rain (reign?): What constitutes “error”?

As part of our standard business practices, we need to include a definition of “error” in our discussion about whether we will accept a particular job. Just as failing to treat editing as a business is a fundamental error that editors make (see The Business of Editing: Fundamental Business Mistakes That Editors Make), so is failing to define “error” a fundamental mistake that editors make.

It is true that using “there” in place of “their” is an error, a “typo” if you will, that needs to be caught and corrected. And it is equally true that it is part of an editor’s (and proofreader’s) job to find and correct such errors. But if homophones formed the beginning and end of the definition of error, there would be little need for professional editors; computers can be “taught” to flag homophones (and homonyms) and, presumably, just about any educated person could correct the erroneous ones.

A fundamental mistake

There are at least four reasons why failing to define “error” is a fundamental mistake. First, in the absence of the definition, the editor sets no boundaries on her work. Second, clients are quick to note that an editor failed to catch an “error,” which does not boost an editor’s reputation, without either client or editor having first agreed on what makes something an error. Third, in the absence of a definition, it is difficult to set an appropriate fee — and get the client to agree to that fee — because the editor thinks oranges while the client thinks apples. Fourth, is the question of responsibility — who is responsible? —  and its companion, compensation — who pays?

An example

Not so long ago I copyedited a poorly written book. The client did not want to pay for the level of editing that the book truly needed, plus saddled the project with a very tight deadline. As a practical matter, I do not do fact checking unless specifically hired and paid to do so; consequently, it is the responsibility of the author to, for example, correctly spell names, with my job limited to checking for consistency in spelling and querying any inconsistencies.

In this project, the author twice, in a 200+-page manuscript, referred to a well-known person in the book’s subject area. Both times the name was spelled the same. From my perspective, there was no error. Alas, the book was published to scathing reviews. One of the errors the reviewers noted was the misspelling of the well-known person’s name. The author blamed the publisher, which blamed my client, which blamed me. I was asked to defend myself for this and a few other specific “errors” that the reviewers noted.

My first step was to point my client to our original correspondence in which I defined what the level of editing the client asked for meant — that is, its parameters — and, addressing the name situation more directly, the definition of “error” that was incorporated into that correspondence. I pointed out that there is a difference between what is commonly known (i.e., broadly known to general populations) and what is specially know within a specific discipline (i.e., known to subject-matter experts). There is also a difference between being hired for subject-matter knowledge and expertise and being hired for language–grammar expertise. I had been hired for language–grammar expertise, not subject-matter expertise. My definition of “error” was limited to well-recognized errors of language and grammar, not to subject-matter errors; in my definition, the author is responsible for the accuracy of all subject-matter “facts,” including the correct spelling of names of recognized-within-the-discipline experts.

I also pointed out to my client that “language–grammar errors” does not mean arguable choices. As an example I usually point to the debate regarding using “since” to mean “because” (for a short discussion of the temporal–causal distinction, see Garner’s Modern American Usage, 2009, p. 748 “since,” but be sure to also read the discussion of “because” on p. 91, and compare it to Fowler’s Dictionary of Modern English Usage, 2015, p. 98 “because”). My definition of error does not say that because a dictionary or a usage guide permits substitution of one word for another, the use of an alternate constitutes error. In other words, my replacing “since” (viewing it to be restricted to time-related uses/senses) with “because” (or other appropriate word) in non–time-related uses/senses (e.g., “Since 1975 it has been customary to classify…” but “Because it has been customary to classify…”) is not an error just because a dictionary or usage guide views the words as interchangeable. My change has to either make meaning less clear or be inarguably wrong; in all circumstances, it is not error for me to not have corrected a fact that would not be known as incorrect in the absence of subject-matter–specific knowledge.

(In this particular case, I also noted that the author had several opportunities to correct the misspelled name but had, instead, continued to approve the misspelled version. As a technical book, the author presents herself as the expert and thus has to accept responsibility for technical errors.)

The publisher was demanding that the packager pay the costs for correcting the errors, buying back and destroying the initial print run, and reprinting a corrected version. The packager was looking for me to shoulder those costs. (I also pointed out to my client that it had chosen the proofreader for the project — as well as deciding whether there would be proofreading — and that these “errors” were not deemed errors by its chosen proofreader.)

Without having defined “error” and the parameters of the level of editing the client requested before accepting the job, my client would have been able to assign the responsibility to me. In addition, the fee I had quoted the client would not have considered the value of my accepting such responsibility.

Value and fee

I know that many of you are asking, “What value?” In the usual case, there is little to no value under discussion because it is rare for a client to expect an editor to accept financial responsibility for editorial decisions; this was that rare case in which my client expected me to accept financial and nonfinancial responsibility for its client’s dissatisfaction. In the more usual case, the client asks the editor to reedit at the editor’s expense, to “fix these errors.” Without having defined what constitutes an error and what the requested level of editing includes and excludes beforehand, the editor is at the client’s mercy — and what may have been a profitable project can suddenly become highly unprofitable.

The questions

The questions are really these: In the absence of defining “error” and the parameters of the work to be done, am I implicitly promising the client an error-free job as defined after-the-fact by the client? Do I owe the client any compensation for not providing an error-free — as defined after-the-fact by the client — document? If I do owe the client any compensation, how is that compensation calculated?

The answers to these questions are for another day.

Richard Adin, An American Editor

Related An American Editor essays:

• The Business of Editing: Fundamental Business Mistakes That Editors Make
• The Business of Editing: A Third Fundamental Mistake That Editors Make
• The Business of Editing: A Fourth Fundamental Business Mistake That Editors Make
• The Business of Editing: A Fifth Fundamental Business Mistake That Editors Make

The Business of Editing: Fundamental Business Mistakes That Editors Make

Editors are often connoisseurs of language first and of business last. People become editors for many reasons; few become editors because they have evaluated editing as a business and decided that they can make their fortune as an editor. People become freelance editors for a variety of reasons, often including as a reason the desire to be their own boss — but without fully understanding what it means to run a business.

Ask your colleagues to show you their business plan — the one they used to decide to setup Gonzo’s Editorial Services and storm the editorial barricades. Both of us will be surprised if they have one to show you.

This is not anything unusual in the business world. Many, if not most, small businesses are established without a business plan and without fully understanding what is involved in running and maintaining a business. But editors seem to be especially neglectful of acquiring the skills to run a business successfully before starting the business — they often look for courses on editing, but not on business, and most editing programs offer little by way of business skill development. And in the United States, there is no national organization that offers a comprehensive editorial business skill-building course.

When I started as an editor (in January it will be 32 years ago), I had a leg up on nearly all my competition when it came to business skills — I had already been involved in and had run several successful small businesses. Having those business skills, combined with the editorial skills I had developed working for a publisher in-house, I was able to rapidly grow my editing business.

Not having those basic business skills is a fundamental mistake that editors make. Perhaps an even more fundamental mistake is the refusal to recognize that they are running a business and need to learn and develop basic business skills. Too many times have I been told by colleagues that they are editorial artisans, not tradespersons or businesspersons. Such thinking limits an editor to earning a basic living (maybe; too many do not even earn at that level) but not much more.

If editors were more businesslike, the first thing they would do is evaluate whether editing was the business for them. Knowing how to do something, even knowing how to do it well, is usually not enough to ensure success. You can be the world’s greatest editor yet have no clients and no income or too few clients or too little income, all because you haven’t the necessary business skills to succeed. Perhaps, then, being a freelance editor is not the correct business for you.

What I often hear is that “I am satisfied with what I earn” or “I am satisfied with the number of clients (projects) I have.” But delve a bit deeper and what one discovers is that the person has come to terms with their situation; they have become satisfied out of necessity, not from choice.

A sure sign of weak business skills is charging a fee that is not enough to raise the editor above the poverty line (see, e.g., The Business of Editing: Why $10 Can’t Make It). When a colleague tells me that they do not need more, it is sometimes because they have supplemental income, such as a pension or a significant other who is paying the bills. But in that case, they are not treating editing as a business; it is more of a hobby — a business needs to stand or fall financially on its own. When they tell me that their clients cannot afford more, I wonder why they aren’t seeking clients who can pay more. I also wonder how they know their clients cannot afford more. For most of us, our clients are from all over the country and world — we do not know them except via impersonal contact. At what point have we crossed that line that divides our interests from our client’s interests to say that our clients are always honest and are more important than ourselves? As far as I know, editing is not a path to sainthood.

Not objectively evaluating what we need to charge is a fundamental business mistake editors make. When you buy groceries, the prices you pay are not arrived at via crystal ball gazing or tossing dice in the air and seeing how they land. A lot of calculation goes into determining the price to charge for a container of yogurt. The grocery wants to charge enough to be sure that it can meet its expenses and open its doors tomorrow, but not so much that you will shop elsewhere. There is also a psychology to pricing: charge too little and clients do not respect you or your skills; charge too much and clients will go elsewhere.

Why do editors think editing is any different a business than, say, a grocery? Probably because editors do not view editing as a business and do not think we have a product to sell. Consider how you set your rate (see, e.g., On the Basics: Dealing with the Perennial Question of Setting Rates for Our Work). Many editors will say they looked at what other editors were charging for similar services. (How do they know the other editors’ services are similar? All that we really know is that they are doing “copyediting,” not how they define “copyediting” nor how good they are at copyediting.) Or they checked out some “national rate chart” (needless to say, without checking out how valid that rate chart is; see, e.g., Business of Editing: The Quest for Rate Charts). And when they found that their colleagues were charging $20 an hour, they charged $20 an hour — even though to meet their expenses they need $30 an hour (see Business of Editing: What to Charge).

It is not that editors do not survive at these rates; they do. But one needs to look at how “well” they are surviving at such rates. In some cases, they are able to survive because someone else in the household is bringing in sufficient money to make up the difference. Or because they are retired and have a supplemental income. What happens to the editor when that other income is lost? It is a question not posed and not answered.

What editors miss is that they are a business and they need to evaluate what they are doing as a business, which means as if they had no other income source. How successful are they if they cannot stand on their own?

Once we begin to view our editorial services as a business, we can apply all of the business fundamentals to our service — not just fees, but also invoicing, marketing, defining our services, deciding which projects we will accept and which we will reject, and determining what constitutes our business day and week, and more. When we get a handle on these things, we will see that our path has changed — for the better.

Richard Adin, An American Editor

Related An American Editor essays:

• The Business of Editing: A Second Fundamental Mistake That Editors Make
• The Business of Editing: A Third Fundamental Mistake That Editors Make
• The Business of Editing: A Fourth Fundamental Business Mistake That Editors Make
• The Business of Editing: A Fifth Fundamental Business Mistake That Editors Make

On the Basics: Recognizing Self-Imposed Limits to Your Editing Business

by Ruth E. Thaler-Carter

I’m often surprised or amused, depending on the incident, by people who seem determined to limit their success as freelancers. Here are some of the ways that people limit their efforts (many of which also apply to writers, proofreaders, indexers, graphic artists, website developers, etc.) — and some ideas for overcoming those limits.

Limit: Refusing to use current technology

Years ago, I met a colleague who refused to use word processing or faxing, and was upset because clients didn’t want to receive her typewritten manuscripts by mail. There are fewer such Luddites around these days, but there are editors who use outdated versions of Word or programs that aren’t considered current leaders in the field, don’t bother to spellcheck their documents, and otherwise seem to be allergic to current technology that makes both their and their clients’ jobs easier. Someone who refuses to adapt to a changing world or understand that clients prefer to use the editors who make their lives easier is not going to prosper.

Limit: Keeping your focus local

You can probably find good projects and clients on a local level — and some of us like the opportunities to interact in person with local clients — but today’s work world is global. Thanks to technology, we can work with clients all around the country and all over the globe. Through the electronic world, you can do your research and work at all hours, send and receive information at any time, and be accessible to clients no matter where they are.

You’ll be more successful if you extend your reach beyond your geographic location — you’ll have more clients, and you just might find ones that pay more than your local contacts. Take advantage of that fact of contemporary life.

Limit: Not investing in your business

Whether you work in-house or freelance, editing is your business. That’s especially true, of course, of freelancers. Refusing to invest in that business is a great way to limit your income and success.

What does it take to invest in an editing business? Making sure that you, or your employer, have current versions of software, hardware, style manuals, dictionaries, and other tools that keep you on the cutting edge of what it takes to get the work done. It also means participating in professional associations and attending events where you can learn more about trends and new resources or techniques, as well as meet colleagues who might hire you for projects.

Limit: Not continuing to learn

Language changes. Tools evolve. New approaches arise. The business of editing is an ongoing process. Those who think they know everything there is to know about editing are doomed to limit their success.

Taking courses, purchasing new editions of style manuals or dictionaries, attending events, interacting with colleagues online and in person, reading leading publications, even enjoying hobbies all help editors keep learning and thus be more productive, professional, and successful.

Limit: Not networking

Many editorial professionals are shy, retiring, or introverted by nature and find it uncomfortable to network with colleagues or potential clients. Even those of us who are more extroverted may find it difficult to network because of where we live or because we do not know how to find outlets for meeting colleagues.

Make the effort to network, because getting to know colleagues is a great way to break out of limits on your editing business. Not only are you likely to learn more about trends, tools, techniques, and other aspects of language, editing, and business; you also are likely to meet people who might refer, recommend, or contract with you for new projects. People recommend those whom they know. Being visible in a professional association in person or online, in a Facebook or LinkedIn group, or at conferences (as either presenter or participant) can be a major factor in expanding your editing business by establishing yourself as a skilled colleague or expert in some aspect of the editing world and process.

Keep in mind that networking is a two-way process; it isn’t all about you. Before you ask for help or referrals to new clients, offer advice or answer questions — try to establish yourself as someone with knowledge to share and skills worth using.

Limit: Not understanding & knowing your effective hourly rate

Many of us simply take projects and get to work on them, accepting whatever clients offer in terms of rates or fees without tracking the time it takes to finish a given job or type of job. As a result, if a potential project comes in without an agreed-upon rate, we’re stymied — we don’t know what to charge.

Not knowing your effective hourly rate — how fast (or slowly) you work and what you need to earn to cover your expenses — puts you at a disadvantage when asked to quote a rate or fee for a new project. From now on, track how long it takes to edit whatever comes across your desk or inbox. Look at the income from each project. Use those numbers to figure out what you really earn, and compare them to your costs of living. Then you have a basis for establishing appropriate rates and fees for your work. This might even give you the courage to ask for higher rates and fees. (For a discussion of Effective Hourly Rate, see the Business of Editing: What to Charge series.)

Limit: Not promoting or publicizing yourself & your business

Promoting your editing business might be the hardest part of being in business. If you work in-house, this aspect of your job is less of a concern, although you still might want to help your employer promote the publication, company, or organization. If you work for yourself, marketing and promotion is essential. Those who sit back and wait for work to magically appear limit themselves to a nominal income.

Marketing or promotion is a constant, ongoing process. The classic example of a non–marketing crisis is when you’re so immersed in a current project that you forget to do any marketing for new work. When you wrap this one up, you have at least the traditional 30 days to wait before getting paid and nothing on hand to work on while you wait. To keep a regular income flowing in, you have to market yourself and your services regularly.

If you can’t handle doing your own marketing and promotions, find someone to help you out. Consider bartering editing services in return for designing a website for you, creating and distributing a newsletter, or helping you use social media to expand your visibility.

Being active in professional organizations and online contributes to your marketing efforts. If you at least do that much, you’ve expanded the limits on your business.

What have you done to limit your editing success? Even better, what have you done to overcome limitations on that success?

Ruth E. Thaler-Carter is an award-winning freelance writer, editor, proofreader, desktop publisher, and speaker whose motto is “I can write about anything!”® She is also the owner of Communication Central, author of the Freelance Basics blog for the Society for Technical Communication, and a regular contributor to An American Editor.