When it comes to the media business, the world is flat – and I don’t mean the screens replacing print for reading everything from newspapers to books, though that’s happening too.
I’m talking about flat in the sense that with so many newspaper and magazine staff jobs going by the wayside, publications don’t have as many middle managers or mid-level editors as there used to be. As a result, many publications are farming work out to independent contractors, editors and writers.
With so much in flux, at any given time the hierarchy of who’s working for whom could change, and the editor you wrote for yesterday maybe the writer you edit tomorrow.
It’s happened to me in the past couple months, as I’ve taken on a new editing project. I’ve found myself assigning stories to not one, not two but three freelance writer/editors who at one time or another I’ve written for while they were either staff or freelance editors. Another writer I’m working with is also a freelance editor who may eventually throw some assignments my way.
If it’s happening to me, it’s got to be happening to other writers too.
So how do you act when your boss today may be the person reporting to you tomorrow?
1. Quit thinking of writer-editor relationships as ‘us v. them.’ Constantly pitting yourself against editors because of perceived bad treatment – lousy contract language, unreasonable deadlines, crummy editing or late payments - makes you a victim. If you’re not happy about aspects of a writing opportunity you have the power to make a choice: negotiate new terms, walk away, or accept the fact that the terms are lousy but you’re taking the assignment anyway. Yes, sometimes the editor you’re dealing with is disorganized, mean or incompetent. But in many situations, problems you encounter may be beyond their control. If you run into trouble the best thing to do is talk, via email or better yet, by phone.
2. Approach the editor-writer relationship as one of equals. One’s not better than the other, just responsible for different things. Editors translate ideas into stories suitable for their audience, sit through a lot of meetings, buffer writers from demands – reasonable or otherwise – of editors and other publication staff higher up the food chain and prep articles for prime time. Writers are editors’ eyes and ears on the front lines, keeping tabs on what’s happening out in the world to come up with interesting, relevant stories. If you think of what editors and writers do as being different parts of the same enterprise, you’ll have more appreciation for what the other does, and it’ll show in your working relationships.
3. If you’re a writer, think like an editor. Editors keep track of multiple details for multiple projects for multiple issues simultaneously. Some go so far as to use Excel spreadsheets or project management apps to keep things straight. If you’re a writer, you can help them and yourself by thinking like an editor. Don’t turn in stories until you’ve gone over them with the eyes of a copyeditor. If you’re responsible for turning in elements that run with the story such as headlines, decks, inks, file art, sidebars, subheads, etc., send everything with your original draft – along with your invoice – instead of waiting for an editor to remind you. If you have aspirations to work as an editor, being organized about those types of details is good practice, gets you noticed, and it could pay off if you ever want to ask for a recommendation.
4. If you’re an editor, think like a writer. As an editor, if you say yes to a query, talk through what your expectations are of the writer and for the story at the very beginning so everyone’s expectations are the same. Because of their status, editors often have access to people and information writers might not. Sharing that information with a writer could help them with a story they’re working on, which helps you in the long run.
5. Be considerate in all your business relationships. I write a lot about workplace issues and in the last couple months have done a few pieces of employee rewards and recognition programs. My take away – you don’t have to give people money or stuff to make them feel good about doing their job, or about working with you. A small amount of courtesy goes a long way – an email to say thanks for an assignment, or a Twitter status update on how awesome someone is to work with. When the holidays roll around, you don’t necessarily need to send gifts to editors you work for – though last Christmas I did send something small to editors I’d worked with over the year.
Do you work as an editor and writer? What advice do you have for getting along in a flatter media world?
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Really good tips.
Thanks Todd, that means a lot coming from you.
Michelle R.
Interesting point. I’ve tweeted it…
Elizabeth
Mystery Writing is Murder
Mystery Lovers’ Kitchen
Many thanks!
Michelle
What perfect timing for this post – for me anyway. I just landed my first major freelance gig and am sorting out the terms with the editors as I type. I’m new to writing professionally (I’ve been doing it for fun for awhile, which is how I landed the job) and really flying blind as I figure out how these relationships are “supposed to” work. Now I see that my naivete has probably benefited me since I didn’t go in with any preconceived notions as to how to feel about the editors.
Not only that, but you’ve helped me see how my “real job” (where I’ve performed successfully for the last 7 years) demands the same mindset as an editor. So, if anything, I sympathize with them. I just don’t have to do their job anymore. Yay!
Thanks.
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This post was mentioned on Twitter by PublishingGuru: The editor you write for today may be the writer you edit tomorrow http://bit.ly/7zz6xr…
You said it! If you’re a writer — think like an editor. If you’re an editor — think like a writer. I’ve worn both hats. You’re right, you’ve got to work as a team. And a ‘thank you’ or ‘good job’ goes a long way.
Diana
Thanks for the affirmation. For some reason this was a hard post for me to write – I struggled with finding the right words to articulate what I was feeling. So glad for the feedback that other people can relate.
Michelle
This is excellent advice, Michelle. I would just add that it’s easy for editors to forget what it feels like to be a writer. When I start to lose sight, I think about times in my newspaper-writer career when I had articles come back from an editor in a “bucket of blood,” with red-text edits everywhere, and a lot of curt, dismissive commentary along the way. Painful.
With that in mind, I try to apply a variant of the Golden Rule: Edit others as you would have them edit you. In other words, with courtesy and respect; without snark and superior attitude. We are all in this together.
[...] This post was mentioned on Twitter by Tim Beyers, ASBPE, Lilian Wu, Delia Lloyd, topsy_top20k and others. topsy_top20k said: RT @ElizabethSCraig: The editor you write for today might be the writer you edit tomorrow: http://tinyurl.com/y8eg9qc [...]
Maybe it’s because of my editorial background, but I’ve never quite understood writers who fear the editor and editors who look down on the writer. In my best dealings with both, we’ve been a team. I’m more likely to work with writers who listen, do the job, and tell me when they think the story has a better direction. Amen! That’s helping us both look good, which means we both benefit from more assignments.
Lori: Writers who’ve ever been on staff at a newspaper or magazine – or these days web-only news organization – have an advantage in this area because they’ve had the experience of working side by side with editors so understand exactly what you’re saying. There’s no mystique, no intimidation factor. But many freelancers haven’t ever had that opportunity, therefore come at the relationship with a different mind set. And I agree with you that both parties benefit with there’s open dialogue that goes in both directions about what could make a story better. If a writer feels intimidated by an editor that might not happen and the story would suffer as a result.
Michelle
I’m a reporter with a small daily newspaper and freelance out my writing and editing in other areas so I have experience with both types of work environments.
Unfortunately, as newspapers are trying to cut more and more, one of the things I’ve seen lacking is a good mentorship between editors and writers. I have people copyediting my work every day, but no one partnering with me to really make it better overall. I need someone to give me direction, not just catch typos!
You guys might like my blog, http://www.thewritersdoula.com – it’s all about fostering a mutually beneficial relationship between writers and editors with a focus on the editor experience. I’d love to hear your feedback on my posts!
I’ll definitely check it out – thanks for stopping by.
Michelle
[...] Remember that the editor you write for today could be the writer you hire tomorrow [...]
Hi, great stuff
I was wondering if many Editors also write there own stories and books? or do they not usually have time on the means to move around a bit more. What I really want to know is – is the field flexible enough to do both?
Emily, I can answer your questions for contract editors like myself (v. staff editors): since I started a contract editing assignment in late fall 2009 I spend more than half my time on activities related to that – coming up with story ideas or taking pitches, assigning stories, editing stories, prepping stories for our site’s content management system, helping with strategy, etc. But I still do a substantial amount of writing – not as much as I used to, but a good bit. I know a number of contract editors who also mix editing and writing. It’s a bit more of a juggle than if you stick only to writing, but it is possible.
Michelle