In King’s book, On Writing, he throws in a few pages from his story 1408, showing the before and after from his own work–but you can do the same using one of your actual clients (with their permission, of course). Naturally if you can’t get permission you’ll have to edit one of your own first drafts, but this is a GREAT way of showing off your editorial chops.

It’s even better if you can also show a .jpg of a page you’ve marked up with editing symbols and such as an extra gimmick. Nobody edits much that way any more, but it’s a good visual and very effective when positioned properly.

Writers post writing samples, why not post editing samples? Something to consider next time you revamp your resume page.

by Joe Wallace

Believe it or not, new editors, your editing skills are often closely tied to your management skills. Much depends on the nature of your editing job but one thing’s for sure–editing someone else’s work requires the same amount of tact and the interpersonal skills required to be an effective leader.

If you’re one of the lucky ones who get to edit without interpersonal consequences, my hat is off to you, but for many more of us, talking with the person you edit is a requirement.

How do you edit someone else’s work and keep it professional and friendly? New editors often feel intimidated when editing the work of someone senior to them and perhaps rightfully so (in some cases). Are you on your game enough to give constructive criticism?

Here’s how to go about those uncomfortable early discussions:

• Read the piece without considering who wrote it. Review the text for its own sake and discard your personal knowledge of the author. You’ll find yourself looking at the work far more objectively than if you keep reminding yourself you have to face your writer.
• When offering a critique of the work, don’t use “you” and “I” pronouns. Say “we” and “us” instead. “You” sounds like a criticism, “we” sounds like a group effort.
• Instead of issuing a direct order or an edict about changing the copy, try suggesting instead. That makes your ideas sound less like “I know better” and more like “We’re almost ready for press time, just one more tweak.”
• Remember when you got your first editorial critique? Try to access your feelings from way back then and use them to guide your decisions about how to discuss changes with your writers.

I think it’s a very good thing to save the original document, make your changes and show the writer your alterations back-to-back.

If you have time to demonstrate why you made your edits, the writer can see quite clearly how the newly corrected piece makes more sense, flows better, and gives the reader something clear and concise.

Unless you suck as an editor, of course. But we’ll assume that’s not the case. Whenever you have time to mentor your writers, do it. The rewards are not far off.