Finding the courage to explore new editing and proofreading markets

Experimenting with new editing and proofreading markets is not just about bringing in the money; it’s also about opening yourself up to new opportunities and experiences.

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Are you a creature of habit?

I’m a firm believer in not putting my eggs in one basket.

I’m also a creature of habit.

There was a time when most the prospective clients who contacted me were similar to my onboarded clients: academic publishers. I knew this market well – I understood its language; I was familiar with its processes; and the expectations of what the work involved were understood by me and the presses for whom I worked.

Taking on work in areas that were unfamiliar felt somewhat daunting. Questions that plagued me included:

• How much should I charge?
• What’s the going rate?
• How long will the work take?
• Will these clients use terms such as 'proofreading' or 'editing' in the way I use them?
• Will I be comfortable doing the work? 

And for a long time if felt easier to stay in my comfort zone, especially since I enjoyed the work.

But every now and then it doesn’t hurt to take a punt. After all, the best-case scenario is that you find a new niche – another string to your editorial bow – while the worst-case scenario is simply that it doesn’t work out. And, really, what's wrong with that?

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A. What if the work doesn’t suit you?

The great thing about being a freelance business owner is that you can always close the relationship if things don’t work out as planned.

And even if your hoped-for long-term business relationship ends up being rather shorter than expected, you can still notch up the completed work to experience and use the knowledge you’ve gained to inform your future choices.

​So if the work doesn't suit you, no problem. At least now you know.

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B. You like the work but the financial return is much lower than expected

Perhaps you find it easy to estimate how much time work from your existing client base will take because it’s a market with which you're familiar. Quoting for work outside the field is far harder for all of us.

So, what if we make a mistake and seriously under-quote?

One way to avoid this is to offer a trial rate that you’ll honour for the first few projects, but suggest the possibility of reviewing the fee structure a little further down the road once you’ve completed one or two pieces of work.

If you haven’t gone for the trial option, and find that the work is taking much longer than expected (causing your hourly rate to plummet), don’t beat yourself up about it. Contact the client and explain the situation, stating that, of course, you’ll honour the original quote for the initial pieces of work supplied but that if the relationship is to continue you’ll need to review the price with them.

In this situation it may be that the client decides they can’t afford your proposed new rate. That’s fair enough – at least the discussion is open and honest.

Make sure you:
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• give a careful breakdown of the work you’ve done
• state how long it’s taken
• give  the reasons why you believe you initially underestimated
• explain why, in order to do the best job for them, you want to review matters,

That way, your client will appreciate your professionalism and see that you’re not trying to rip them off. And even if things don't work out on the price front, you'll be able to close the door to each other on good terms.

Of course, there's always the negotiated compromise. You can ask them to make their best offer and decide whether you can live with it. The experience you’re acquiring and your enjoyment of the projects might mean that you’re prepared to take a bit of a hit (though not one that makes you feel as if you are being exploited).

Compromise isn’t for everyone, but it is an option.

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C. What if the work’s not what you expected?

So you thought you were proofreading but actually you’re editing.

Or you thought you were editing but actually you’re writing.

Or perhaps you were expecting monthly projects of a couple of thousand words and you’ve ended up with a tome on your desk (or in your inbox).

​Ask yourself the following: 

1. Do you want to do the work as it now stands?
2. Are you fit for purpose? Can you actually do what the client needs and by when they need it, regardless of your initial expectations?
3. Is the agreed rate in line with what you feel is fair for the job you’re doing and the time it’s taking?

If the answer to (1) is no, then inform your client as soon as possible that the job’s not for you. That way they can find a replacement.

If you’re okay with the work but the answer to (2) is negative, then you need to take the same action – tell the client that you’re sincerely sorry but you don’t feel the job is within your skill set; or, if it is but the deadlines are unmanageable, give them the heads-up immediately. In the latter case you may be able to set up new arrangements whereby the time frames are workable.

If you still want the work and you’re fit for purpose, but you’re unhappy with the rate (3), it’s time to have the open and honest conversation outlined in section B, above.

Many an editorial freelancer has been surprised at how receptive clients can be to procedural or rate reviews as long as the conversation is timely, polite and expressed in a way that acknowledges their needs. If your work is of high quality, your client may just bend over backwards to make the relationship work.

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2026 update: The punt I took, and where it led

Back in 2014, one of my social science publisher clients referred me to her production manager friend who worked for a trade publisher. It's how I got offered my first ever fiction proofreading gig. I asked myself all those questions about capability, price and time. 

Self-doubt tapped me on the shoulder. Impostor syndrome whispered in my ear. I took the job anyway because it was an amazing opportunity. I decided I didn't care if the fee ended up being rubbish ... the book I was being offered by a big-name author would look so good in my portfolio that I couldn't pass up the chance.

In other words, I took a punt. And that punt led to more fiction proofreading work from publishers. And that led to more fiction editing work with indie authors. And that led to me editing only fiction. Until that led me to specializing in only one particular genre of fiction. 

Now that's all I do – stylistic line editing for indie authors writing crime fiction, mysteries and thrillers. A punt evolved into a purpose. A chance evolved into a choice. I don't just line edit this genre; I teach others how to, with my books and courses. And that chance diversification has become a niche specialism that's at the heart of my brand identity. 

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Summing up

Taking a punt brings up all sorts of unexpected pleasures, but sometimes a little pain, too. Good communication framed by honesty and immediacy will make the journey less bumpy.

​Whatever happens, as an editorial colleague once told me, 'There’s no point in getting one’s knickers in a knot over it. You win some and you lose some in this gig!'

If you love what you're doing, great. But if something comes your way that feels like it might be interesting but you're holding back because it feels risky, consider whether it's worth a punt. You never know where it might take you.​

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About Louise Harnby

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors

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