SYP's Freelance Glance
For some years I have written a column for the Society of Young Publisher's magazine, sharing my experiences and pearls of wisdom on being a freelance , book copy editor and book writer.
In this column, I explain how a book proofreader and book copy editor works with publishers.
Working for publishers as a book proofreader and book copy editor
It’s time to get down to the nitty gritty – what’s it really like working with publishers? This month I thought I’d spice things up by grilling myself, in a split-personality style interview.
So how do you get work from publishers?
Well, usually the onus is on me to build a relationship with a new publishing client. My first job for a publisher is often the result of a mailshot introducing myself as a professional book proofreader and book copy editor. When I write to a publisher, I always encourage them to keep my details on file. A publisher may express an interest straight away, or I may get a call two years later (yes, really) asking if I’m available to proofread or copy-edit a book.
Do publishers ever approach you first?
Ah, those are the days . . . Some publishers approach me having seen my details listed in a directory or online, or through my website. I’ve also made new contacts through word-of-mouth, where one division within a publisher passes my details on to another.
Did you have to pass tests before working for your publishing clients?
Yes, editorial exams for book proofreaders and book copy editors are pretty common. I don’t actually mind them, as I’ve then got a good basis to show the client I know my stuff.
Do you have to be ‘on the books’ to get work?
Yes – if publishers use freelancers, they generally have a pool of book proofreaders and book copy editors they feel they can rely on. So on your first job for a publisher (and subsequent jobs, of course), you need to impress them.
How do you get commissioned?
An in-house editor will contact me to see if I’m interested in the project, giving me an outline of the work involved, the deadline and the rate (yes, the publisher usually sets the fee). If I’m willing, I’m commissioned as either the book proofreader or book copy editor.
How do you settle the terms?
I’m glad you asked me that. I can’t stress enough how important it is to be crystal clear on what the job involves. Ideally, clients ask me to sign their terms and conditions which include the fee, work involved and deadline. If they don’t, I’ll ask them to sign my own T&Cs. I learned this lesson the hard way – get it in writing to save tears later on, as some clients love to move those goal posts.
So what happens once you’re commissioned then?
Once the publisher and I agree the project, I’m emailed a full brief, together with any files and style documents. During the project, I’ll be in touch regularly with the in-house editor to let them know where I am with things, and address any queries or concerns as they arise. While initiative is a positive quality, it’s always better to ask than skip merrily down the wrong editorial avenue. Let the publisher make the big decisions – they’re the boss.
Can you give us the lowdown on working with in-house editors?
Nine times out of ten, it’s a pleasure to work with them. I’ve found the in-house teams I work with organised, professional and friendly, and best of all helpful and patient with questions and problems. Editors are good folk, and who else can I call up to discuss the intricacies of the comma splice?
Do you work with the authors themselves?
When I work for publishers, I seldom have any contact with the authors at all – the in-house editors act as middlemen (oops, middlepeople?). However, it’s still just as important to build a good relationship with the author, by which I mean being respectful when making changes and comments. So a book proofreader or book copy editor writes I’m not sure what you mean here, could you simplify this para?, rather than scrawling What!? Utter drivel!
How do publishers work out the fee?
Publishers base the fee they pay a book proofreader or book copy editor on an hourly rate, cost per page or sometimes a seemingly plucked-from-the-air fixed cost. Before agreeing, I make sure it will work out at a reasonable hourly rate for me. If I’m concerned, the time to negotiate is at the start of the project, not when I invoice.
And finally the million dollar question – What’s the pay like?
A little short of a million dollars. Some publishers pay peanuts; some pay well. Pay is based on the intensity of the work (proofreading/copy-editing) as well as the type of material. It also comes down to the size and reputation of the publisher. In my time working for publishers, my hourly rate as a book proofreader or book copy editor has ranged from £8 (very much an economy fish-finger time for me) to £50 (bring on the Birds Eye). And if £50 gives you cartoon-style dollar signs on your eyeballs, remember a freelance book proofreader and book copy editor has to pay overheads, gets no holiday or sick pay, and has to put money aside for tax and to cover the natural ebb and flow of business. I do this job because I love it, not because it will make me rich.
New book: How to Succeed as a Freelancer in Publishing
I'm currently co-authoring a book with Emma Murray called How to Succeed as a Freelancer in Publishing, which will be published autumn 2010 by How To Books. The book offers advice on how to build a freelancing business in your chosen publishing field – from proofreader to copy editor, ghostwriter to author, typesetter to graphic designer. So watch this space for plenty more top advice on making it in publishing.