How do I turn my literature and creative-writing teaching background into an editorial business?

This week’s reader question is from a teacher of English language, literature and creative writing. She’s looking for a new direction – something beyond the school environment that will allow her to use her educational experience and existing knowledge base.

Here’s what Noella had to say:

Dear Louise,

I'm a UK-based secondary-school English teacher of language, literature and creative writing, and am looking to move into editing or publishing.

I feel that I already have some of the skills required but I'm also on a budget and would like to know how someone like me could perhaps sneak into this area of work via a recognized route that isn't too costly.

Essentially, I want a better work/life balance and to feel more in control of my career. Hope you can advise me.
 
Hi, Noella! Thanks so much for your question.

Work/life balance
Given that flexibility is important, I’m inclined to recommend the path of independent editor (freelancer), rather than working in-house. Running your own business will give you control.
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Setting up on your own will require a lot of hard graft at the outset (as I’m sure you realize). However, it will provide you with the freedom to choose your own hours, set your own rates, and decide which projects you wish to take on.

The different levels of editing
I think it’s worth summarizing the different levels of editing as this will show you where your current skills might slot in.

• Big picture: The terminology is tangled but here we’re dealing with macro solutions that help authors to shape their work. Services include book coaching, manuscript evaluation, manuscript critique, developmental editing, structural editing or substantive editing. Writers learn to develop their novel craft through plot, characterization, pace, narrative point of view, tense and story arc.
• Sentence level: Again, the terms differ depending on whom one talks to but here we’re dealing with micro solutions that help authors to smooth, correct and polish their work. Services include stylistic editing, line editing, copyediting, proof-editing and proofreading. Writers learn to keep their readers engaged through attention to sentence flow, clarity, consistency, and standard spelling, punctuation and grammar.

There’s more information in the following articles:

• The different levels of editing. Proofreading and beyond
• How do mainstream publishers produce books? And should you mimic them? Help for self-publishers

What would suit you?
Given that you’re already immersed in teaching creative writing – albeit to a younger audience –  you might do well to focus your training on big-picture work because you could utilize an already-developed skill set.

Another route to consider is offering private writing tuition. Many first-time authors want to develop their craft, and if you enhance your existing knowledge base with specialist professional training and professional society membership, you'd have a powerful key selling point not only to local writers but those searching online too.

And if you enjoy working with secondary-school students, there’s nothing to stop you offering private tuition to them too. You’ve already proven yourself within the school sector, but this option would allow you to continue teaching while achieving control and flexibility over your working hours.
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Training
I’ve covered the issue of training in previous Q&As so take a look at the following articles for information about high-quality courses that focus on the broader practice of editorial work:

• Are free online proofreading and editing training courses reliable?
• Q&A with Louise: Can a teacher get work as a proofreader, even with no publishing experience?
• Q&A with Louise: Which online proofreading and copyediting courses do you recommend?
• SfEP: Society for Editors and Proofreaders (courses)
• The Publishing Training Centre (courses)
• Training archive here on the blog
• Why should you bother with professional proofreading training?
• Worldwide list of editorial societies

If you do decide to focus on big-picture editing, I’d recommend specialist training. Perhaps you’ll discover nothing new, but that will be a huge confidence booster. And if there are gaps in your skill set, you’ll find out where they are and be able to rectify the problem before you begin working with clients.

Sophie Playle of Liminal Pages is an experienced developmental editor who runs two relevant courses:

• Developmental Editing: Fiction Theory
• Developmental Editing: In Practice

Also take a look at the Society for Editors and Proofreaders’ Introduction to Fiction Editing. Note that the SfEP assumes basic copyediting knowledge for this course.

Getting noticed
One of the biggest challenges for any new editorial business owner is getting noticed. Again, I’ve discussed marketing in previous Q&As, so you might like to review the following:

• Content Mavericks with Andrew and Pete (webinar programme; complementary book available shortly)

• Content Marketing Primer (book)
• Marketing archive here on my blog
• Marketing Your Editing and Proofreading Business (book)
• Q&A with Louise: Can a teacher get work as a proofreader, even with no publishing experience?
• Social Media with Purpose (Copyediting masterclass)
• SOS Marketing Strategy (free booklet)

If you were to go down the route of offering creative writing courses for beginners, consider researching local writing groups; and talk to local bookshops to see if you might publicize the courses through them.

How about your local chamber of commerce? Is there support there – perhaps local contacts who are involved in self-publishing? You might collaborate with the chamber to provide a beta course or seminar series that would help you learn what works and what doesn’t. This would enable you to mine your existing teaching skill set while expanding your local network.

And, of course, self-publishers aren’t the only market. Mainstream publishers are a superb client base with whom to build your portfolio once you’ve completed your training because they already understand the value that professional editors bring to the table.

It’s worth bearing in mind, too, that there are fewer specialist developmental editors than copyeditors and proofreaders. Moving in this direction would mean you have less competition once you begin actively marketing your new business.

Budget
One thing I can’t advise on is whether my suggestions are ‘too costly’! Price is always relative in any case. My recommendations are based on quality rather than affordability because I see no sense in suggesting training that won’t help you achieve career independence and fitness for purpose.

Your career background will offer you a strong foundation on which to build your editorial business, and if you’re prepared to combine those skills with additional professional development and a commitment to marketing, I believe you could do very well indeed.

Good luck, Noella!

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Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
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She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

​Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

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