3 Things I Learned from Starting My Editing Business
by Adina Edelman
I’m about to throw out a word I used to hate.
It was my “Mufasa” word. (Insert shudder.)
NETWORKING.
Yes, friends. Networking. I’m an introvert. I prefer reading a book than talking to someone, no matter how interesting their life is. But I knew that if I wanted to go from “wannabe editor” to “paid editor,” I’d have to network.
But the question to really ask first, I think, is how did I get real experience as an editor?
Two Things I Did to Build Up My Editing Skills
You all read. I don’t need to talk about that. And I’m not going to talk about college.
Here are two other things I did to build up my skills that I would recommend for anyone who wants experience in editing:
I reached out to local newspapers.
(Well, technically, my brother the layout designer introduced me, but it still counts.)
A simple email works: “Hey, I’m looking to get some editing experience. I’ll work for free for X number of articles.” Oh boy, will they take you on quick. (Or they’ll say, “Hey, write a serial story for us!” I did that, never doing it again. Most stressful thing ever.)
Volunteer at a literary journal.
Writers and editors, take note. Please, please, reach out to local literary journals. Not only will this benefit you, but they need you. I
did an internship with the “Baltimore Review” summer of 2019, then came on as an editor. I gained enormously from this, from critical thinking to proofreading. All the editors and readers are volunteers, and we’re absolutely inundated with submissions.
You writers know how hard it is to wait to hear back from a journal. Pitch in at one of them, and you’ll learn more than a thing or two.
How Did I Get My First Book Editing Job?
So. How did I get my first book editing job?
Networking.
First step: I plunked myself on LinkedIn, made a few connections, and then asked the terrifying (for me) question: “I’d love to learn more about book editing. Would you be willing to speak with me?”
And whadya know? Editors are a real nice bunch.
One of those first people I spoke with got me in touch with one of her contacts, the chief editor of Mosaica Press. A short while later, I got my first straightread job. (That’s the proofread after the manuscript is in PDF format.)
And it just snowballs, folks. A few other clients also came through networking, either on LinkedIn or word of mouth. Networking is key.
I Love the Possibilities with Fiction
My niche is definitely middle-grade fiction. That’s what I love to read, write, and edit.
My B.A. is in English and Creative Writing with a concentration in fiction. (And sure, I took all the screenwriting courses, too, but sadly I’m not editing scripts at the mo.)
I love the possibilities with fiction and the joy and engagement it brings to young readers. I remember the impact those kinds of books had on me, and I have a strong passion to bring those stories to more readers.
I Learned I Wasn’t a Freelancer, I Was a Businesswoman
When I graduated this past January, my main goal was to become an editor for Jewish publishing companies. I’m an Orthodox Jew, and I really wanted to use my skills to enhance the literature in my community.
The more I networked, the more I realized that in Jewish publishing, there isn’t really a nine-to-five job setup. The publishers have lists of freelancers they pull from for a given job.
Alright, I thought. I’d become a freelancer. I’d rack up experience from a range of clients and dive in.
But the more I looked into it and the more people I spoke with, the more I learned that I wasn’t a freelancer.
I was a businesswoman.
So EdelmanEdits was born.
Top 3 Things I’ve Learned from Starting My Editing Business
1. There’s a whole lot more to learn.
The Chicago Manual of Style alone was a huge stepping stone for me. Hyphens are now the bane of my existence, but I love the chunky style guide.
Leaving college, I’d never even heard of a style sheet, which is a pretty important thing for an editor to know. And on the business side, I only just learned more about dealing with taxes (yippee). This summer was a major crash course for me, and it’s still going strong.
2. You know enough to start.
Yes, I’m learning as I go. But I also have great soft skills—communication, critical thinking, attention to detail, etc.—that I bring to every project. And although I have far to go as an editor, I know enough to do a great job now.
3. I’ve learned to stand up for my values.
This was huge for me. One of the first projects Gatekeeper Press offered me was in major conflict with my religious background. I turned it down.
Thankfully, they were really respectful about it and found another project that suited me. But that was a tough moment. I had to remember why I was doing this and why it was important to stand my ground.
Editing is Not About Fixing Grammar and Spelling
All the business coaches and gurus will tell you to work on your Unique Selling Point. What makes you stand out from the crowd to reach your audience?
After editing a few projects, I pinpointed what I felt was different about me, and I try to share that with potential clients.
My tagline is “Book Editing to Mine Your Message.”
Someone may look at that and say, “Huh?”
Well, here’s the thing.
It’s not about fixing grammar and spelling.
*Gasp!*
What did she say?
Yes, you may quote me on that. Editing is not about fixing grammar and spelling.
To me, it’s about making your message heard. Do you need to fix grammar and spelling to do that? Yes. But there’s a lot more to it. Sometimes you have to dig real deep to uncover the value of your story.
And that’s what I’m really, really passionate about. I don’t want to just fix “their” and “there” and add in a few commas. I want to make sure your message is heard.
As for marketing, at the moment that means being active on LinkedIn, having a visible online presence (thank you, Colleen, for aiding in that process), and—you got it—networking.
My main clients are publishing companies, which means there is steady work, and business has only been picking up, thank G-d. The next step is landing the high-paying clients, and that’s still a process I’m refining. Stay tuned . . .
How I Got a Job Working as an Editor for Publishers
For most of the publishers I work for, I got the job through networking. I was floored at how simple the process is. You put yourself out there, engage with other people, and the opportunities come, thank G-d.
With Gatekeeper Press, I did actually connect with the president through Upwork. Yes, I tried Upwork. And as soon as I had a good relationship with Gatekeeper Press and steady projects with them, I left Upwork. Their 20% fee is a killer, but I’m grateful for the lead they gave me.
The small publishers are out there. All you need to do is connect with them. And many of the decision-makers are on LinkedIn. If you want to work for one of the big five—places like HarperCollins, Simon and Schuster, Random House, etc., you’ll have to ask an editor who has experience with that.
Top 3 Mistakes Authors Make with Their Books
I’m going with three common storytelling mistakes writers make.
1. Not giving enough description.
Now, this is interesting because I don’t love a lot of description, the reader doesn’t love a lot of description, and generally speaking, the writer doesn’t love writing a lot of description.
Yet. Read the following:
Iris turned to the student next to her. “Do you know if this teacher gives quizzes?”
“Duh. Every teacher gives quizzes.”
“Right. When’s the next one, then?”
“How should I know? I wasn’t listening.”
I don’t know about you, but I’m having trouble picturing this. What does “the student” look like? We can guess at her body language based on her tone and language, but we don’t actually know what she’s doing.
That’s a lost opportunity. An adjective and a short descriptive statement before one of the lines of dialogue would be ideal.
Don’t go overboard with description. But don’t leave it out, either.
2. Plot twists.
Please only put in plot twists if it makes sense for your story. Don’t wake up one day and say, “Hey! It should totally be the prince who kills his father!” and then run and put that into your draft.
Think it through. Be smart. Enough said.
3. Adverbs.
I’m sure we’ve all seen Stephen King’s “I believe the road to hell is paved with adverbs.” I want to clarify something:
“I can’t believe you did that!” she shouted angrily.
“I can’t believe you did that!” she whispered angrily.
In the first, removing “angrily” will make no impact whatsoever. Conclusion? Unnecessary.
In the second, “angrily” adds something because when we think “whisper,” we don’t normally think “angry.”
Adverbs have their place and time. When used wisely, they can aid in the storytelling. If used carelessly, they cheapen your words.
How Editing Has Shifted My Viewpoint of My Own Writing
Yes, I am a writer and an editor. I’m also a daughter, sister, aunt, friend, reader, teacher, and knitter. We all have our juggling acts, right? Every person has to decide what their priorities are.
I sat down this summer with the plan to finish a novel. Then I started my editing business. That novel’s still there, waiting for me. But right now, editing is a priority (so is paying off student loans).
I still write poetry in spare time, and every so often I’ll churn out some writing. Should I work on it more? You might say so. But for now, this system works for me.
It’s a given that in order to be a good editor, you must be a good writer. You need to know how story works, how sentence structure and words work, in order to help someone else with their writing. You understand that tips you’ve learned can help your client, and the experience you’ve gained is something you can share with your author.
In turn, as I grow as an editor, my viewpoint on my own writing has shifted. I’m able to look back at a story I wrote and see more clearly what need’s fixing. I just recently edited a short story I wrote, and it was interesting to see how I could better pinpoint what to improve.
So yes, they are very much intertwined. As I grow in one area, I grow in the other as well. That does NOT mean that if I’m a fantastic editor then the first draft—or fifth—of my story will be brilliant. I doubt you’ll find any editor who says that.
It means that after I’ve taken a break from the writing, I’m able to apply sharper eyes and more objective thoughts to it, because that’s what I do for a living.
Advice for a Young Writer: Find a Writer Who Does Exactly What You Want to Do
How to make a living writing? There are so many different types of writing; content and technical writing are very lucrative these days. My best advice would be to find a writer who does exactly what you want to do and ask them for guidance. See what practical steps you need to take to realize your dreams.
For me, I love creative writing. And I knew that I couldn’t turn that love into a career. I didn’t think it was realistic for me. Instead, I help those who want to make an impact through their words and ideas.
For those who do want to make it into a career, it’s a matter of working on their skills and, above all, persistence. You can be the greatest writer and give up with one rejection. Keep going.
Featured image by bongkarn thanyakij from Pexels.
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Adina Edelman is a book editor based in Baltimore, MD. Her business, EdelmanEdits, helps small publishing companies turn messy manuscripts into published books. Adina edits for Gatekeeper Press, Mosaica Press, Israel Bookshop, The Circle, and more.
Adina is also a fiction and poetry editor for the Baltimore Review and has published work with the Penmen Review, Baltimore Jewish Home, Mizmor Poetry Anthology, and Bridge Literary Journal. Adina earned her B.A. in English and Creative Writing summa cum laude from Southern New Hampshire University.
Find more about Adina and her work at her website, or connect with her on LinkedIn.
