There is nothing I like more than to be overwhelmed with offers of work. There is nothing I dislike more than having been offered work and having to turn it down.
Recently, I had two offers that, had I looked no further than the gross amount of money I would receive, I would have accepted and would have turned into nightmares. What looked good on the surface was very bad for me underneath. And so I had to choose whether to stand my ground and insist on “thanks, but no thanks” or accept the work.
The first offer was perfect in every way but two. I had done similar projects before and so already knew what was expected. The price was acceptable based on my past experience with this type of project. The bugaboos, however, were schedule and language.
I am an American editor. My skillset is geared toward American English. Asking me to “translate” from British English to American English is fine; it is certainly something I can do. But to ask me to edit in British English, regardless of the amount of money being offered, is to ask me to do something I cannot.
I am aware of my limitations. Every successful and professional editor has limitations and is aware of them. I know that I do not have sufficient familiarity with British English grammar, spelling, structure, usage, and idioms to undertake a project that requires application of British rules.
The second bugaboo with this particular project was schedule. I was asked to do this project on a Saturday; the due date was the following Friday. The problem was that the week in question was Thanksgiving week, which meant that only Monday and Tuesday were available workdays — my office was closed for the holiday the rest of the week.
The client, to my pleasure, was persistent, but the reality was that I was not going to cancel long-ago-made plans for the holiday for my normal fee and I was not going to agree to work that I could not assure my client I could do professionally and successfully.
I tried to explain to the client that professional editors are generally busy and cannot simply set aside work for other clients that is also subject to a schedule, especially not for the standard fee. I also tried to get the client to understand that my language limitations are real limitations that if ignored could and would reflect badly on both of us.
With effort I convinced the client that I was not the right person for the job and that even if I was the right person, I couldn’t do it within the needed schedule. I believe that one difference between a professional editor and a nonprofessional editor is that a professional editor knows her limitations and will not let either a client’s cajoling or proffer of money induce her to step over that line. The professional has pride in her abilities and her work product — her reputation — and is unwilling to jeopardize it. So, I stood my ground and turned down this work.
The second opportunity I passed on was more problematic. In this instance, I was well-suited to the task and the schedule was one that I could work with. The problem was a lack of balance. We have discussed balance in prior posts, including “The Business of Editing: Expectations.”
This offer had a somewhat different history. There were three parties involved: myself, my client, and my client’s client. The saga begins with the relationship between my client and their client. My client was asked to bid on certain work. It decided to bid based on its doing the editing in-house. After doing some of the editing, it sent completed work to its client for review. Unfortunately, the review was not positive, the bottom line being the client’s client suggesting that the client needed to find more skilled editors to do the work.
This was a rare instance when my client did not have the in-house expertise to do the editorial aspects of the project; however, this project should have been earmarked for outsourcing from the beginning. That it wasn’t created the problem my client now faced: My client bid an editing price that was far too low for the type and amount of work involved. When they came to me, my price was nearly five times that my client had bid and that was accepted by my client’s client.
Unfortunately, I cannot lower my price enough to come close to what the original bid price was. The demands are simply too great. Ultimately how this will be resolved remains to be seen, but there are several lessons to be learned.
The first lesson is to be sure that you understand exactly what demands are going to be made on you before you price a project. In this case, I asked to see already edited material, knowing that I would see what edits were made and what the reviewer thought of those edits. Even in the absence of seeing that edit of an edit, I was familiar with what my client’s client would expect because I had done this type of work for my client’s client in the past and stopped doing it because there was no balance between demands and pay.
The second lesson is to be certain that you are capable of doing the work. To say that I have edited Roman history many times so therefore I can edit this Roman history is to ignore the unique features and demands of each project, author, and client. A project needs to be evaluated on many levels before it is priced and accepted.
The third lesson is to make sure that the quoted price is sufficient to earn you a profit even if some snags are hit. There is no sense being in business if you cannot make a profit.
A fourth lesson is to be ready, willing, and able to say no and to do so firmly. I understand the argument that it is better to have some work that pays poorly than to have no work that pays nothing. The problem with that argument is that it becomes a trap. If you did a similar job for next to nothing yesterday, why would I pay you more today? Experience tells me that you will lower your price. One must be willing to stand one’s ground and risk losing the job and/or the client.
Are you ready, willing, and able to stand your ground?
An American Editor 