Hey editors, what does your online portfolio look like? Do you include before and after examples of your editing work? Why not take a page from Stephen King’s playbook and show what somebody else’s work looks like after you’ve gotten done with it?
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
Time for another round of hand-selected editor jobs. No Craigslist crap here–other sites have that editor writer angle covered so why should we bother duplicating the effort? Instead, what you get here is all HAND SELECTED editor jobs for a range of experience and expertise levels.
AOL Living needs a senior editor who can write for a female audience. This gig requires a well-connected person who has contacts in PR and with freelance writers who can make things happen. Beginners in the editing part of the editor writer equation are probably not the best candidates for this gig, but if you have a good track record you may yet get a foot in the door.
Crate and Barrel are looking for an editor to handle their catalog. This one requires a journalism degree according to the ad, but don’t let that stop you from applying if you don’t have one but DO have the right kind of experience.
CBS Interactive seeks a managing editor for BNET. You need five years experience as a story editor for a mainstream business website or newsstand publication.
More editing gigs coming soon…thanks for checking.
“Dear Editor–I’m not an authority on (this subject I’m writing about)–how do I write intelligently about it? How can I take a position when I don’t really know the issues?”
One mistake experienced editors frequently see? Early-career writers trying to write as an authority on a subject they don’t really know well. New writers–you don’t have to be the authority on a topic in order to write about it, so don’t TRY to sound like you know.
It’s obvious to anyone who does have experience in your subject when you try to fake your way through. Instead, don’t set yourself up as ANYTHING. Write from a neutral position, or write that you’re learning along with the audience. That makes for a much more compelling article than when you try to blunder your way through. Those with experience in the subject you write about will spot your newbie-isms right away.
For example: In music, there is a vast difference between microphones. Vocal mics have different sensitivities than mics that are used to record drum sounds. If you didn’t know what a pickup pattern is, you would be easily confused by the terms “cardioid” and “unidirectional” and probably wouldn’t guess that a lavalier mic is used for a specific purpose far different than a boom mic.
What do all those terms mean? To the uninformed this is a minefield because you might hear someone say “The singer has to adjust his lavalier mic to get the best results on stage” and assume that ANY mic a singer uses is a “lavalier”. That would be dead wrong–but you as a newcomer to all that jargon wouldn’t know.
It’s better just to ask the right questions–”What other mics can singers use on stage? Are lavalier mics the only kind or are therea diversity and why do they use so many different kinds?” The point is, you should write from your own experience level-don’t worry about appearing like a noob. The idea is to get the story and make your points without blowing your credibility.
by Joe Wallace
With the caveat that we haven’t consumed the 9th edition of this book yet, the promise of The Art of Editing in the Age of Media Convergence is quite impressive. Over 400 pages of updated material on editing, with a look at the challenges editors face across disciplines including new media, journalism, advertising, and so much more… a comprehensive take on a variety of industries and the kinds of editing work you face in each one.
Need to anticipate the kinds of stories and editing corrections you face in online journalism, broadcast television or medical writing? The Art of Editing in the Age of Media Convergence could be the best investment you make as a new editor depending on your skill level and expertise. Want to pick an editing career path and make an informed choice? Try doing some of your research in these pages.
One new addition to this edition includes a discussion on the rise of citizen journalism and how to manage those editing challenges. Nobody could ever accuse this book of lagging behind the times. Of course, The Art of Editing is NOT cheap, but if you need the wisdom contained within, it’s an excellent investment and don’t forget that it can be used as a potential tax write-off (for professional books and materials) where appropriate. Is this required reading? We’ll get back to you on that, but signs definitely point to “yes”.
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.
One great tip for editing a difficult piece is to print it out and make notes on the document itself. Sometimes this can cause you to find things that you otherwise might pass right over. This can be a good idea for highly technical pieces or for days that you are just not feeling 100% sharp.
Try to be as green as you can…print it in draft quality (black and white, not color), and use the other side for notes or scratch paper.
The most attractive parts of the McGraw-Hill Proofreading Handbook include a how-to on creating a personal style sheet, a section on fact checking, and some advice on how to train your eyes to spot copy errors.
Like the absolutely essential Elements of Style, the Proofreading Handbook is small, compact, and an easy read at just over 160 pages.
No, you’ll probably never need that section of typesetter’s marks, but you never know, and the existence of that section in the book shouldn’t dissuade you from taking advantage of the other solid info in these pages.
This is a serious professional manual. It’s lousy for reading on the subway, but for those who want to transition from writer to editor, it’s a good addition to the old professional library.
Jeff Anderson’s Everyday Editing is really aimed at teachers who want to create more effective writing workshops and educate students on how to self-edit, but this teaching perspective has a lot of value for the everyday writer.
Imagine how this book could change your perspective as a freelance writer editor or a newcomer to the world of editing. Got your eye on that editor slot? Are you still taking on reduced pay editing gigs or doing work for free? Scoop up a copy of this book and give yourself a leg up.
By learning editing and writing concepts from a teacher’s point of view, you’ll have an easier time getting your head around what future clients and employers expect from your work. Anderson’s book includes a lot of great ideas, especially on mechanics like proper verb choices, paragraphs, even how to use dialogue appropriately.
It goes without saying that any student of writing has the potential to become a teacher of the craft at some point in time. Want to mentor new writers? Everyday Editing by Jeff Anderson is a good tool to have on hand to prep for that mentoring.
Editors on Editing: What Writers Need To Know About What Editors Do is not the most lightweight book title in the universe, but it is a handy volume to own if you’re just getting started as a writer or editor.
Editors on Editing has gotten rave reviews from readers who recognize the power of this collection of three dozen essays on the art, craft, and career path of editing. Editor writers take note, this book not only tackles nuts and bolts, it also covers a variety of different needs across many genres.
The 377 pages of this beauty are just want any newcomer needs to read in order to get a leg on up the competition–surely anyone ignorant of the contents of this book will suffer when they go up against someone who has absorbed this materal and taken it to heart.
