6 Tips for Attending a Writer’s Conference as a Freelance Editor

By Shana Baldassari

LJWC_classroom_cropIn October, I attended the La Jolla Writer’s Conference (LJWC) for two reasons: as an aspiring author hoping to learn more about the craft and, more importantly, as an editor hoping to learn more about my client base and the industry. It was my first writer’s conference, and I was excited to experience what it was all about.

I originally had heard about the LJWC at SD/PEN’s September program meeting, where Jared Kuritz, director of the LJWC, discussed the different publishing options available. I was so impressed by Jared’s ability to clarify such a complex topic—all in 90 minutes—that when he mentioned he did a more in-depth presentation on this topic and others at the LJWC, my interest was piqued.

When I think of conferences, my mind is filled with images of huge convention halls packed with thousands of people (an overwhelming thought for most introverts), but this was not the case for the LJWC. In fact, it was quite the opposite—the LJWC was an interactive and intimate three-day conference dedicated to teaching writers about the art, craft, and business of writing.

Registration to the event granted me access to

  • Lecture classes
  • Workshops—read and critiques
  • Cocktail receptions and keynote addresses
  • Signed books and merchandise

As a first-timer, I wanted to attend as many lecture courses as I could rather than the workshops (I didn’t have a manuscript in hand for the read and critiques). The topics ranged from genre-specific lectures (thriller, comedy, sci-fi/fantasy, memoir, etc.) to big-picture discussions on writing skills/tips (the publishing process, the author-agent relationship, how to market yourself, etc.).

Like the conference itself, the classes were designed to be intimate and interactive, which I found to be a great environment to facilitate learning. All the presenters were published authors, or had a strong footing in the publishing industry, and encouraged questions from the class to drive the conversation. I walked away from each class feeling inspired and more knowledgeable.

The majority of the conference attendees were writers, but there were a handful of agents, publishers, and editors as well. Even though I was attending each of the classes with an editor’s (rather than a writer’s) mindset, I found the conference to be a fun and rewarding experience.

For those considering attending a writer’s conference as an editor, here are some tips to get the most out of the experience.

  1. Market yourself to potential clients (writers). This sounds obvious, but where else can you meet a handful of potential clients? They may be at various stages in their book development, but at some point, all authors will need their manuscript edited. Making an effort to introduce yourself and offer your services is a great way to market yourself. (Don’t forget to bring business cards!)
  1. Learn as much as you can during the lectures. You might attend a lecture on how to create a website, how to choose the right publishing option, or how to write strong plots. Even though these lectures are geared toward writers, it is a great idea to know what they know—and then some. This will help make you a more capable editor.
  1. Listen to what writers are struggling with the most. The LJWC did a great job at opening up the lectures to be more of a Q/A discussion. This gave me numerous opportunities to hear the writers’ questions or concerns. Pay attention to what is brought up and the answers that are given—you may find that your client has asked or will ask you a similar question.
  1. Allow yourself to get energized by the excitement. There’s nothing more infectious than a bunch of people excited about the same thing. Feed off the energy of everyone working toward the same goal—to publish a book. When you’re around other people who are passionate about publishing, you may find yourself inspired to be a better editor.
  1. Take classes on different genres. Just because you have never edited a screenplay or memoir doesn’t mean you shouldn’t. Explore the different genres being taught and see if anything piques your interest. You may find you want to expand your editing expertise to include other genres.
  1. Write off the conference on your income tax as a business expense. If you’re a professional editor, you can get a tax break for attending editing-related conferences, so don’t forget to keep your receipts.

A writer’s conference is not cheap, so it’s important to get the most out of what you paid for. The next time you are considering attending one, remember these tips. You may find that you walk away from it a more skilled and inspired editor.

SD/PEN Member Profile: Adrienne Moch

Each month, SD/PEN selects one of its members at random to profile his or her background and experience. This month we are featuring Adrienne Moch, a long-time business writer and editor of Adrienne Moch Writing & Editing.

wwMoch_2015001iv_smHow do you describe what you do to someone whom you’ve just met at a networking function?

I provide writing and editing support to companies to help them ensure their copy isn’t just competent, but compelling.

What accomplishment are you most proud of professionally?

I’m proud that I’ve been able to support myself—and even put some money into savings!—by being a freelance writer/editor for the past 13 years. It was scary for me to become an entrepreneur, but I’m so glad I took that leap.

Which quality or qualities would you most like your clients or professional colleagues to remember you for?

First and foremost, I’d like to be remembered for my writing and editing skill, which I’ve used to help hundreds of clients over the years. Second and just as important, I’d like to be remembered as a professional who can be counted on to hit any deadline and will go the extra mile to delight a client. Third and also important, I’d like to be remembered as someone who’s an excellent referral—because I’m well aware of how important it is to make the referring party look good.

What is the number one item on your bucket list and why?

I don’t have a bucket list, but if I had one, I wouldn’t have dreamt of putting “see a World Series game at Wrigley Field” on it—given my beloved Cubs’ record of futility. However, I did get to attend game 3 versus Cleveland last season in Chicago with my teenage nephew. Although it was a 1-0 loss, it was a magical night—and less than a week later one of my fondest wishes came true!

Describe your ideal weekend.

My ideal weekend would involve not having to work—a rarity. It would be great to sleep late—which hasn’t happened since I adopted a dog—go out for a big breakfast, and then find a relaxing spot for reading with a water view. Finally, when I got home, someone would have cleaned my condo and done all the laundry. You did say ideal.

What did you want to be when you grew up?

A writer! I’m one of the lucky few who knew early on what career I wanted—and I feel blessed that I’m able to earn a living doing what I love. I enjoy the creativity of writing and the opportunity to transform even poor copy into something great as an editor.

SD/PEN Member Profile: Larry Edwards

Each month, SD/PEN selects one of its members at random to profile his or her background and experience. This month we are featuring Larry Edwards, a Pulitzer Prize–nominated writer, long-time editor, and book publisher.

Larry_Edwards_2424_2How do you describe what you do to someone whom you’ve just met at a networking function?

I offer editing services that include manuscript read and critique, copyediting, content editing, developmental editing, and book proposals, as well as print book and ebook publishing consultation. I also have my own publishing imprint, Wigeon Publishing.

What accomplishment are you most proud of professionally?

Peer recognition: I have won many awards over the years as a writer and an editor. As an editor, one of the authors I worked with (as development, content, and copy editor) won the prestigious 2015 Independent Book Publishers Association Benjamin Franklin Gold Award. Also, as an editor, multiple authors I have worked with have taken top honors at the annual San Diego Book Awards. In addition, as an author I have taken top honors at the San Diego Book Awards three times, for both nonfiction and fiction, and I have been nominated for a Pulitzer Prize. As an investigation journalist, I won Best of Show awards from the San Diego Press Club for four occasions.

Which quality or qualities would you most like your clients or professional colleagues to remember you for?

I'm easy to work with, the quality of my work is professional, and I meet my deadlines.

Tell us about a book you recently read that you would recommend.

Charcoal Joe by Walter Mosely has a depth and literary quality lacking in most books of the mystery genre, yet the pace never slows below a fast trot and quickly returns to its former gallop. I pretty much read it in one day (Christmas—best present I’ve given myself in a long time). It mesmerized me to the degree that I read it again the next day—to make sure I hadn’t missed anything and to savor Mosley’s fine writing and storytelling that much longer.

What is the number one item on your bucket list and why?

I would like to visit the Grand Canyon. I have only seen it from 33,000 feet (and on the "Nature Channel").

Describe a volunteer activity or cause you are involved in.

I am involved with Survivors of Violent Loss; that is, those who have lost a loved one to murder and endure the complicated grief and bereavement that accompany such a loss while having to traverse the labyrinthine criminal justice system.

What is your favorite or least favorite word and why?

Currently my least favorite word is a phrase: "reach out." The term has become a cliché and too often used (especially by broadcast media) inappropriately or repeatedly, to the point of rendering it meaningless.

On Writing: The Primrose Path to Prologue

By Larry Edwards

This article originally appeared in The Kinder Muse Newsletter, September 2017, and is posted here with the author's permission.


The Prologue Question: To P or not to P?

hamlet.jpgShould one choose to tread the primrose path to prologue, ’tis a dalliance I wish not to rede.*

As a judge for the San Diego Book Awards, I recently read about a dozen novels, some as published books, some as unpublished manuscripts. Most of them had prologues—and in every case of a book with a prologue I lowered the author’s score.

The problem?

These so-called prologues either were not prologues, or they were unnecessary, or they could (should) have been chapter 1, or they contained background information that could (should) have been disclosed later, in a context within the story that would have been more meaningful to the reader.

In one case, chapter 1 opened with: Three years earlier. Huh? How can the prologue be a prologue if it occurs three years after the beginning of the story? Open with Three years later maybe, but even then that’s risky. What if the reader didn’t bother with reading the prologue, as is often the case (especially if the book happens to be Russo’s Empire Falls). The reader wonders: Three years later than what?

My comments on the score sheets include:

  • Prologue pointless—not a true prologue.
  • Why have a “prologue” (it’s not) if you repeat it word-for-word in the story on page 4?
  • The prologue is unnecessary; the story would be better were it to begin with chapter 3.
  • The suspense would have been greater without the prologue, letting the readers learn the background of the sanatorium along with the characters.
  • What you have written is not a prologue. It is an excerpt from the story, well into the plot. Also, it sends the wrong signal to the reader, as if [John Doe] is the central character, but he is not.
  • Reconsider the so-called prologue. Technically speaking, this is not a prologue. Walter Mosley would call this an “Afterward” (yes, spelled correctly)—think Ptolemy Grey. Your “prologue” languishes in needless description. Reduce it to a few poignant words, as noted. Maybe it doesn’t need to be called anything.

Wearing My Editor Hat

editor_larry_edwards.jpgAs an editor, I periodically see prologues, but at that point I can intervene and the prologues can be rewritten or, more appropriately, deleted, before the book is published.

In one case, the prologue merely pulled material from chapter 81. Again, huh? How is that a prologue? That’s a marketing tool to entice the reader with a particularly dramatic scene, but it more appropriately belongs on the back cover or the flap of the dust jacket, not in a prologue.

Another author had material labeled prologue, but it waddled and quacked like chapter 1. All that author needed to do was change the heading. Problem solved.

So what? What difference does it make whether it’s called “prologue” or “chapter 1”?

For starters,


They start with—here’s a concept—chapter 1.

Not Mandatory

It occurs to me that newbie writers believe that a prologue is mandatory, but they can’t figure out what to put in it. How about nothing?

Yet, why would they believe this? I wondered: Is there no guidance available to writers with regard to prologues? Turns out, there is plenty of information and advice, in print and online—some of it better than others. So, I will mention a few of these and include links to what I consider to be the more authoritative ones.

Even so, I find much of that guidance limited, and in a number of cases the adviser often draws on her or his own writing, which at times is not the most exemplary representation.

A Prologue By Any Other Name

A prologue, by definition, means “before” or “preceding” the “words.” It details events that occurred before the story begins, ofttimes decades, centuries, or even millennia earlier.

romeo_juliet.jpgGreek playwrights incorporated looooong prologues in their theatrical works, setting the stage, as it were, for the drama to follow. William Shakespeare followed suit, but he trimmed his prologues to a few minutes, and today’s directors may cut them, or eliminate them entirely. The prologue to Romeo and Juliet, for example (should I dare criticize the master?), not only explains what the cautionary tale is about (an “ancient grudge” and “star-cross’d lovers”) IT GIVES AWAY THE ENDING.

Some writers include a prologue in books within a series to provide background information regarding the preceding book or books. That orients the reader and may serve a useful purpose. But, even then, are they wasting paper and ink? Are they wasting the reader’s time?

pride_and_prejudice.jpgJane Austen didn’t need no stinkin’ prologues—although William Dean Howells saw fit to pen a 19-page introduction to the tome in a 1918 reprint of Pride and Prejudice (maybe he saw it as an antidote to insomnia).

Others assert that a prologue can establish the mood of the story. Yawn. A well-written story will establish the mood.

tale_two_citiesThe prologue in Charles DickensA Tale of Two Cities has been ballyhooed as a shining example. In case you don’t recall the opening line, it goes like this:

“It was the best of times. It was the worst of times.”

It then meanders on for a dozen or so more lines of similar nonsense. Setting aside the “wuzzies” of passive voice: It was telling. It was not showing. It was soooooo 19th century. (Maybe Chuck never bothered reading Jane.)

At least it’s short, and a few lit students might actually read beyond the first line. By comparison, the prologue in Richard Russo’s Empire Falls drones on for thirteen and a half pages of soporific pablum. Not only that, it’s in italics, making it even more challenging to read. Sheesh. Enough already. No wonder prologues get a bad rap.

As the saying goes, “Kill your darlings.”

Anyone Doing It Well?

rollins_devil_colonyJames Rollins, author of a series of historical novels, has been singled out as having effective prologues. In The Devil Colony, for example, he has a three-and-a-half page prologue (although he does not label it as such) that depicts a scene from “Autumn 1779, Kentucky Territory.” Chapter 1 begins with “Present Day,” more than 200 years later.

turlow_presumed_innocentScott Turlow, in the legal thriller Presumed Innocent, incorporates a one-and-a-half page “Opening Statement,” which serves as a prologue. But he does not use the device in all of his books.

 wambaugh_floatersJoseph Wambaugh, in Floaters, has a three-page prologue comprising a scene that lays the foundation for the story to come, similar to what Rollins does. But, like Turlow, he does not use this device in all of his books.

mosley_ptolemy_grayAs noted earlier, Walter Mosley, in The Last Days of Ptolemy Grey, turns the prologue concept on its head, beginning the book with what he calls the “Afterward” (not “Afterword,” which comes at the end of a book). It’s a letter written by the central character after the story ends. Risky? Yes, but Mosley is a brilliant enough writer to pull it off. The letter raises a number of questions, which are answered by the words that follow.

Include a prologue only if there is a story reason for it.

Why Not?

elmore_ten_rulesElmore Leonard, an author I respect more than most, famously offered up his 10 Rules of Writing. Rule #2 is:

Avoid prologues: they can be ­annoying. . . . A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck’s Sweet Thursday, but it’s OK because a character in the book makes the point of what my rules are all about.

Brian A. Klems, the online managing editor of Writer’s Digest magazine, responded to a writer who asked: When should a prologue be used?

A prologue is used when material that you want to include in the opening is out of time sequence with the rest of the story. . . . It’s used only to explain key information that doesn’t follow the time flow of the rest of your book. So if your “prologue” doesn’t fit this criterion, either cut it or change it to chapter 1.

The folks at Scribendi say:

Prologues can be boring. Also, people admit to regularly skipping the prologue. . . . However, the main reason for not writing a prologue is that, in most cases, it simply isn’t necessary.

Lital Talmor says:

Unnecessary prologues are a dangerous lot: at best they are ignored, at worst they turn the reader off.

If there is no story reason for a prologue, leave it out.

If You Do, Make It Meaningful

Soooo . . . if, after serious mulling and thoughtful consideration, you conclude that your book needs a prologue, then make it meaningful to the reader so you’re not wasting his or her time with needless self-indulgence.

What does a meaningful prologue look like? I cite the Rollins and Turlow examples, and there are others. Are they necessary? Can those stories stand alone, without the prologue? You’ll have to judge that for yourself. However, note that neither Rollins nor Turlow actually labeled those sections as prologues.

And keep it short. Please.



* rede, verb: to give counsel to : advise—as in Ophelia’s “primrose path” speech in Shakespeare’s Hamlet.


Memoir Editing Job of a Lifetime . . . My Dad’s, That Is

by Diane Rush


Diane, about one month old, and DadI have the best editing assignment ever: I’m helping my dad write his memoir. You might think this job could be fraught with various issues, and you’d be right. Suggesting changes to a family member’s creative work can be a delicate endeavor. But obviously, both my dad and I have the same goal in mind, and with a lot of hard work and a bit of humor, we’re progressing just fine.

My dad begins his description of himself with “an old” and follows that with a noun that tells what his Parkinson’s and eighty-five-plus years are dishing out for the day. I explain, “No, Dad, you’re not in your older years, you’re in your wise years.” What a good time for a person to write his or her memoir. He’s easygoing and didn’t mind when I bought a copy of Memoir Writing for Dummies for us to read and told him not to take the title personally. My dad is a great writer and has always tried to stay up on the latest in the computer world.

My first lesson learned was that teaching Track Changes to someone who hasn’t used it before requires more training than I had given. I came to that conclusion when he somehow turned off Track Changes and made all the changes he wanted. Of course, I couldn’t see any of his revisions that way. He used that parental voice that says, “You can do anything you set your mind to” when he told me simply, “You can fix this.” I gained a new appreciation for the Compare function.

What worked best was for me to keep the full manuscript on my computer and for him to start a new blank Word document every day and type just that day’s work into it (he wrote about five hundred to a thousand words each day). Then he emailed me the work he did for the day, and I copied and pasted it into the master manuscript. Via speakerphone, I read the new work back to him out loud. We went over glaring issues together, and then I did the copyediting on my own. Following that same process every day for the past seven months, we came to the last line of the story and ended up with just under seventy thousand words.

High-tech as he is, my dad has a low-tech concept of what he thinks readers will do when they get to a word they don’t know. In my case, I had to wonder while working on his draft how a cog train works and what eosinophils are and who Lyle Hess is. I suggested he provide a brief explanation for words or phrases that might be unknown to the reader. He asked me, “Don’t people just look up words they don’t know?”

“They might if they’re on an e-reader,” I told him. With a little bit of convincing that it isn’t as common anymore for readers to look up new words in a dictionary, he started adding short explanations of troublesome terms.

Some of the best parts of working with him were reading my dad’s wisdom coming through in his stories, hearing his folksy expressions, and laughing at his antics, saying to him, “Dad, you didn’t really do that, did you?” Yes, he did, and to be a respected memoirist, he wrote only what was true. For the parts that taxed his memory, he asked other family members or explained in the text that the details as recounted might not be exact, but the message is correct, or we simply left that part out. We also added a note to readers at the beginning of the book saying that his memories are to the best of his recollection.

A part of the process that was therapeutic for me was the retelling of a part of my life that I missed out on: the family’s yearlong sail through the Bahamas. In my, then, 18 years of wisdom, I told my parents, “Nope, I’m going to stay home and work.” It didn’t take too long to realize that I regretted that decision. Writing that part of the story together was almost as if I got to take the trip after all, and it was one of the most satisfying parts of working on the book.

One of the more difficult aspects of reading a parent’s life story is discovering parts of his or her life you haven’t heard before, the things you didn’t know were happening because you weren’t born yet or were too young. The flip side is that all the pieces finally come together to provide the full story.

We decided that when there were accounts that could be hurtful to the person mentioned, we would change the name of that person. We did that for a few people. We also added a line in the disclaimer at the beginning that said some of the identities had been changed to protect privacy. I believe it made it easier for my dad to write the difficult parts when made-up names were used, as if he were telling someone else’s story.

It was a bit rough for me when he was outlining the last chapter of the book: I didn’t want to hear that there would be a last chapter. I wanted to slow down the process, but he wanted to speed it up. He said he didn’t want to die before the book was finished. I joked that he better not do that, because if he did, I’d have to make up things to finish off the book.

Once we had the full manuscript completed, I gave him an expanded lesson in Track Changes. At that point, I knew he needed to go back through the manuscript on his own, at his own pace, and make the changes he wanted. As he said toward the end of that process, “Well, the good thing about all this writing and rewriting is I’m really figuring out this Word 16 stuff.” And indeed he did.

After more rounds than most copy editors would provide a “regular” client, we had a finished story. Off it went to the cover designer and formatter, and now we wait for the proofs to be ready.

Toward the end of our last proofreading round, before sending the manuscript off, my dad asked me whether we needed to make any more revisions. No, Dad, I thought. Don’t worry about revisions. You’ve led a great life . . . no revisions necessary.


SD/PEN Member Profile: Preston Hathaway

Each month, SD/PEN selects one of its members at random to profile his or her background and experience. This month we are featuring Preston Hathaway, a technical editor, storyteller, and poet.

How do you describe what you do to someone whom you’ve just met at a networking function?

I translate what engineers say about their work and products into language the target audience can understand. I bring understanding and clarity to complex, highly technical situations.

What made you decide to become a professional editor?

I found myself writing and editing a great deal during the first two or three jobs I had after I retired from the US Navy. I enjoyed it and made it a career.

Which quality or qualities would you most like your clients or professional colleagues to remember you for?

My ability to listen, joy in the work I perform, teaching, and enthusiasm for learning about new work-related topics.

Tell us about a book you recently read that you would recommend.

American Ulysses: A Life of Ulysses S. Grant by Ronald C. White Jr. This biography reads like a thriller and reveals the life of an American leader. As a general, the secretary of war, and eventually president, Ulysses S. Grant ensured the Union won the Civil War and slavery was abolished. He worked long and hard to uphold the civil rights amendment and protect black soldiers, their families, and former slaves from being harassed and killed by former members of the Confederacy who did not want the civil rights amendment enforced. His life story is one of continual learning, adjusting to new circumstances, and overcoming major loss—several times over.

Where would you like to go on your next vacation and why?

Our next vacation is planned. We will visit Devils Tower in Wyoming and Mount Rushmore, and then get on historic Route 66 in Carthage, Missouri, and follow it back to California. My wife and I like road trips. Route 66 is a highway that contributed greatly to migration and communication, changing various parts of the United States. We look forward to getting off the interstates and seeing new parts of the country.

Our next vacation after that: Israel and Palestine. We want to join a pilgrimage that visits historic Christian sites and places them into historical, cultural, and geographical contexts. I am writing historical fiction that takes place during the time of Christ, so this pilgrimage would contribute to story backgrounds.


SD/PEN Member Profile: Mika Ono

Each month, SD/PEN selects one of its members at random to profile his or her background and experience. This month we are featuring Mika Ono, editorial director at the University of Redlands.

Mika_Ono_headshotHow do you describe what you do to someone whom you’ve just met at a networking function?

I’m a terrible networker, so I’d probably say, “I put out the alumni magazine for the University of Redlands.” I’m actually involved in many projects in addition to the magazine, including executive communications, web content, brochures, and social media. In the time I’ve been at the University of Redlands, I’ve found it to be a real gem—offering a genuinely warm community and commitment to personalized, student-centered education.

What made you decide to become a professional editor?

I love working with words. Text is like a puzzle that can be taken apart and put together again in just the right way to make a piece strong and meaningful.

What accomplishment are you most proud of professionally?

I try to be most proud of whatever project I’m working on at the moment—currently, the next issue of the University of Redlands alumni magazine, which explores how technology is reshaping so many areas of our lives, including politics, education, mapping, pop culture, and music.

I’ve also found my book projects particularly rewarding. I co-authored San Diego Book Award-winner Ancient Wisdom Modern Kitchen: Recipes from the East for Health, Healing, and Long Life (Da Capo Press) and worked on memoirs with some remarkable individuals, including a former head of the U.S. Food and Drug Administration and a Jodo Shinshu Buddhist minister who spent his career serving communities throughout California.

Tell us about a book you recently read that you would recommend.

I recently finished The Book of Joy: Lasting Happiness in a Changing World (Cornerstone Publishers), which chronicles a conversation over five days between the Dalai Lama and Archbishop Desmond Tutu. I not only appreciated the two men’s insights on the human condition, but also the way their conversation illustrated commonalities between Christianity and Buddhism.

Another book I enjoyed was Dispatches from Pluto: Lost and Found in the Mississippi Delta (Simon and Schuster) by Richard Grant. This delightful chronicle tells of the writer’s experience moving from New York City to the Mississippi Delta, describing the culture, challenges, and people of this part of the South with fresh eyes.

Describe one thing about yourself that most people don’t know.

I’m a morning person with a vengeance. My most productive hours are between 5:00 and 9:00 a.m.

SD/PEN Member Profile: David Gaddis Smith

Each month, SD/PEN selects one of its members at random to profile his or her background and experience. This month we are featuring SD/PEN board member David Gaddis Smith, a writer, editor, and Spanish-to-English translator.

David-Gaddis-SmithHow do you describe what you do to someone whom you’ve just met at a networking function?

I’m a former San Diego Union-Tribune foreign editor and Mexico columnist who has reinvented himself as an editor and Spanish-to-English translator of books and articles about Mexico, in addition to being a long-distance editor for the Middle East website Al-Monitor.com and writing about Mexico.

What accomplishment are you most proud of professionally?

I am most proud of my work that helped show the innocence of four men falsely arrested in the 1994 assassination of Mexican ruling party presidential candidate Luis Donaldo Colosio in Tijuana. Mexicans were so convinced that there was a conspiracy behind the killing that they came to false conclusions that resulted in the incarceration of these men, and it unfortunately took far too long for logic and justice to take their course and for these men to achieve their freedom.

Which quality or qualities would you most like your clients to remember you for?

I would like my clients to remember me most for my accuracy and for the perspective I help provide in seeing the larger picture. I had no corrections my last five years at the San Diego Union-Tribune and have caught error after error for my clients since. God (or Allah) only knows why it all too often seems that I have better knowledge about the 12 Imams than the Shiite Muslim writers I edit.

Tell us about a book you recently read that you would recommend.

A book I bought with a gift card I won at an SD/PEN meeting (there are great benefits in attending!) is The Organized Mind: Thinking Straight in the Age of Information Overload by McGill University neuroscientist Daniel J. Levitin (2014). Chapters such as “Organizing Our Home” and “Organizing Our Time” have helped me clarify what to do next. I now use 3x5 cards as an organizing/to do process as recommended by the author, who calls this a brain extension system that “builds on the neuroscience of attention, memory, and categorization” (p. 74).

Where would you like to go on your next vacation and why?

I would like to go to the Copper Canyon in northern Mexico. A good friend whose Canadian-born wife introduced me to my Canadian-born wife, Louise, wants the four of us to take a train trip to see what is often described as the "Grand Canyon of Mexico." It just has been difficult scheduling four people to do this trip amid family deaths, illnesses, weddings, births, work, remodeling—you name it!

Describe one thing about yourself that most people don’t know.

I have become quite a handyman. The internet, which has made me a far better editor and translator, also provides a wealth of knowledge that was not previously readily available and that allows the average homeowner to do a decent job at home repairs and projects. Internet research also helped me once become the Toastmasters humorous speech champion for the state of Baja California with my talk “La Historia de México en Siete Minutos.”

What did you want to be when you grew up?

I always have had wide-ranging interests and got into journalism when I was in high school by being a sports correspondent. I thought that if I took a job at a newspaper after graduating from the University of Florida, I would meet people from all walks of life and then figure out what I really wanted to do. Turns out I never left journalism; more than half my working hours are still devoted to the craft.

Diversify Marketing Efforts to Find Freelance Editing Work

By Katie Barry

Katie_Barry_Finding Freelance Work blogI wish I had the secret to finding editing work as a freelancer. If you take this one magic step, clients will line up at your door! They’ll throw money at you, and you’ll never have to look for work again.

Unfortunately, life doesn’t work that way. The past few months, however, have reminded me of one of the greatest marketing lessons available to freelancers: don’t put all your eggs in one basket. In the past few months, I’ve added three clients to my roster: two ongoing and one project specific. I found each client a different way.

Client A: The Cattle Call

A job listing appeared on an editorial organization’s job list. I applied. I got it. It all happened within the space of about two weeks. I’ve been working with them for almost four months now. They don’t send a large amount of work, but it’s steady, interesting, and they pay promptly!

Client B: SD/PEN Member Services Directory

A couple of weeks ago, I was contacted by an author who found my member directory listing on the SD/PEN website. We exchanged some emails about his book project, and I’ve since completed editing his manuscript. At the end of the project, I referred him to David Wogahn of AuthorImprints, who spoke at an SD/PEN program meeting last November, to help with the author’s next steps (including obtaining an ISBN). The author was easy to work with and passionate about his subject matter, he paid promptly, and, again, the work was interesting. Being able to pay it forward with a referral to David made the work all the sweeter.

Client C: Colleague Referral

I’d been hearing for a while now about a colleague’s great client. The client was interested in expanding their network of freelancers toward the end of last year, but they ended up being too busy to go through the process of hiring someone at that time.

Out of the blue, a few weeks ago the client contacted me to see if I was still available and interested. I was. They are now a source of ongoing work. Again, the work is interesting, diverse, and although my first payment hasn’t come through yet, I am confident I’ll be paid on time, as the client has a long track record with my colleague.

Inquiries Don’t Always Pan Out the Way You Expect

I’ve also had inquiries via LinkedIn, and a couple of others through the SD/PEN directory recently. Although these specific inquiries haven’t turned into work for various reasons (in one case, the author wasn't ready for the book to be edited; in the other, I wasn't interested in going back to full-time, in-office work), I’ve made more connections, and there’s no telling where they may one day lead.

Last year, I applied to a cattle call and didn’t get a response to my cover letter and resume submission—until about nine months later. That client had kept my information on file and contacted me when they needed more help. That client is now part of my regular client base. Another prompt payer with interesting work. And nothing that I had planned for.

The Lesson

The only secret to finding work is to constantly be looking for work—and to look for it in a myriad of ways. Five years after launching my freelance business, I have a great network of clients and colleagues, and know that there might be a surprise in my inbox on any given day. I wish the same for all of you!

Click the following links to read other blogs by Katie Barry:

SD/PEN Member Profile: Kathleen V. Kish

Each month, SD/PEN selects one of its members at random to profile his or her background and experience. This month we are featuring Kathleen V. Kish of Kish Academic Editing.

K.Kish.Portrait-2017How do you describe what you do to someone whom you’ve just met at a networking function?

My company offers a range of editing services, including copyediting, substantive editing, developmental editing, proofreading, and publishing advice. Specializing in literary and cultural studies, Kish Academic Editing has also collaborated with scholars in the social sciences, as well as with practitioners in fields as diverse as medicine and English grammar. English is not the first language of a good number of our clients. The direct contact between author and editor is the hallmark of Kish Academic Editing. Together we rejoice when the author’s project—be it thesis, article, dissertation, manual, or book—becomes a finished product to be proud of.

What made you decide to become a professional editor?

After taking early retirement from my position as Chair of the Department of Spanish and Portuguese at San Diego State University, I wanted to continue to be active professionally. An online UCSD Extension course, “Editing as a Business: How to Succeed on Your Own,” illuminated a pathway that would allow me to put my particular editing expertise at the service of scholars at a range of levels, from graduate students to seasoned academics. Besides offering technical advice to my clients, I could apply the store of knowledge acquired in my academic career to assist them in their work. And, best of all, I would always be learning.

Which quality or qualities would you most like your clients or professional colleagues to remember you for?

I am humbled, but also gratified, by remarks made by clients in the Testimonials section of my website. I like that they singled out my “nimble, expert, and kind editing,” and that they mentioned my moral support and my care in helping them to find their own voice, jump-start their independence, refine their style, and enliven their scholarship. I appreciate that they see me as a thought partner and a respectful writing coach, always available for consultation. I am proud of each and every one of them and pleased to share their joy in their accomplishments.

Tell us about a book you recently read that you would recommend.

I enjoyed reading Roots and Wings: Growing Up in Apartheid South Africa by Shoshana Kobrin, who was selected as featured author in October 2016 by the Published Writers of Rossmoor, the California East Bay retirement community where I now reside. This slim volume of beautifully written stories held special meaning for me because of my own experience in South Africa on a research, speaking, and writing trip in 1976. I missed the Fourth of July bicentennial celebrations in the United States, but I did witness some of the fallout from the Soweto uprising that same year.

Describe a volunteer activity or cause you are involved in.

I strongly support efforts to enable worthy students to follow a path to higher education. I continue to contribute to the Bridges Academy Scholarship program at the University of San Diego. I also take an active role in screening young women seeking Tech Trek scholarships. The Danville-Alamo-Walnut Creek branch of the American Association of University Women, to which I belong, sends about a dozen rising eighth-grade students for a Tech Trek week in the summer to Sonoma State University.There they join other scholarship recipients to focus on math, science, and engineering. I have also helped to evaluate applications for Cal Alumni Scholarships, a program from which I myself benefited as an undergraduate student at UC Berkeley.

Describe one thing about yourself that most people don’t know.

I once won a trip to see the Yankees play in New York City and left directly from the ballpark of their farm team in Greensboro, North Carolina. The club’s manager said that they had never before had a winner ready to leave right away. The promotion was called Suitcase Night; I was so convinced that I would win that I showed up at War Memorial Stadium packed and ready to go. And my intuition was right!

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