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?

I’m still here.

I’m still looking at traffic stats.

I’m still reading comments, and sometimes even replying.

I’m still thinking of blog posts.

But that’s just it. I’ve been so busy lately with my editing day job the only thing related to this blog I’ve been doing is thinking.

I’m too pooped to post.

The editing job should settle down a bit over the Christmas holidays. When it does and I have some more time, here are the posts you’ll see from me:

• In praise of the nut graph – small, powerful, elusive and 100 percent unavoidable – why are you so hard to master?
• I love writers who… – a 180 from a post I wrote awhile back on the editors that writers love. Based on the last month, I have much to say on this subject.
• 2009: a freelance writing year in review – a horror story with a happy ending.
  
• Digital media trendsetters to watch in 2010 – The usual suspects, plus a few surprise picks.
• To incorporate or not to incorporate – That is the question to ask your accountant.
• A media incubator wish list – Portland freelance journalists are huddling this week to continue plans for a coworking space dedicated to indie writers. If you were going to design your dream shared newsroom, what would be in it? If you’re already working in such an environment, what do you love about it, and what do you hate?

Readers, which of those subjects should I tackle first? If there’s something else you’d like to read on WordCount in coming weeks let me know.

Now that I’ve had a taste of the editor’s life, I have a better idea of why many don’t respond right away to freelancers’ letters of introduction, queries, follow up emails and submitted manuscripts. The secret: it rarely has anything to do with the writer. Read on.

The top 25 reasons editors don’t get back to you faster:

1. They’re in a meeting.

2. They’re working on next year’s editorial calendar, which is late, and they still haven’t quite figured out what stories they’re doing when.

3. They’re in the run up to a day-long webinar for 3,000 subscribers the publication is hosting and haven’t thought of anything else for days.

4. They’re at a publishing industry convention figuring out how to do more with less.

5. They’re covering a convention.

6. They’re in another meeting.

7. They’re flying to a meeting.

8. They’re editing stories that have to go up on the site tomorrow.

9. Their 2010 budget is due and they’re figuring out how they can get by without having to cut freelance rates or lay someone off.

10. They’re unorganized.

11. They read your story/pitch/letter of introduction and are still trying to figure out where you or it could fit into the general scheme of things.

12. They read your story/pitch/letter of introduction and are still trying to figure out how to politely tell you thanks but no thanks.

13. They read your story/pitch/letter of introduction and are still trying to figure out how to tell you that you or it are fantastic but due to budget cuts they’re only paying 25 cents/word right now.

14. They’re getting fired, quitting or getting downsized out of a job.

15. They’re working on the editorial plan for a spin-off publication the publisher asked them to take on in addition to their regular responsibilities.

16. They’re working a column/letter from the editor/feature story and have locked themselves in a room with no phone or Internet access because it’s the only way they’ll ever get any writing done.

17. They’re hosting an editorial roundtable with industry bigwigs for their publications’ annual CEO perspective issue.

18. They’re in a day-long session with the publication’s market research team plotting out what reader surveys they need to do next year and how much it’ll cost.

19. They’re in bluelines.

20. They’re blogging.

21. They’re planning the company Christmas party.

22. They’re planning where they’re going to go over Christmas break.

23. They’re decluttering/cleaning/organizing their office.

24. They’re interviewing candidates for next semester’s internships.

25. They’re in, you guessed it, another meeting.

Some editors we love. Some editors we love to hate.

The latest example is Entrepreneur Magazine Editor in Chief Amy Cosper, whom recently fired staff writer Dennis Romero excoriated in a 4,000-plus word diatribe published on his blog earlier this week. Among other things, Romero accuses Cosper of practicing such a hands-off editorial style she barely made assignments, read copy or kept tabs on what her staff was doing. “She didn’t give us deadlines! Ever!” Romero writes – frankly, I know some freelancers who wouldn’t mind the no deadlines part.

Romero’s plight reminds me of other editors we love to hate.

Devil Wears Prada – Lauren Weisberger’s roman a clef was a chick-lit bon bon before taking off on the silver screen, with Ann Hathaway playing editorial assistant Andrea working in indentured servitude to Meryl Streep’s witchy Miranda Priestly, a chic stand in for Vogue EIC Anna Wintour.

“And-re-ah,” she called from her starkly furnished, deliberately cold office. “Where are the car and the puppy?”

I leaped out of my seat and ran as fast as was possible on plush carpeting while wearing five-inch heels and stood before her desk. “I left the car with the garage attendant and Madelaine with your doorman, Miranda,” I said, proud to have completed both tasks without killing the car, the dog, or myself.

“And why would you do something like that?” she snarled, looking up from her copy of Women’s Wear Daily for the first time since I’d walked in. “I specifically requested that you bring both of them to the office, since the girls will be here momentarily and we need to leave.”

“Oh, well, actually, I thought you said that you wanted them to–”

“Enough. The details of your incompetence interest me very little. Go get the car and the puppy and bring them here. I’m expecting we’ll be all ready to leave in fifteen minutes. Understood?”

WriteSideOut blogger Bonnie Boot celebrates’ writers’ love-hate relationships with editors in her Editors are Evil Writing Contest. An excerpt from Charlotte Bennardo’s winning entry:

Dear Editor,
I have your cat.
What, no contract?
To Chow Yung Fat,
I take your cat.
Oh, change your mind?
Your cat you’ll find
Once contract signed,
and deal we bind.
Refuse to deal?
A tasty meal
Cat’s fate you’ll seal
I swear, for real.

Mother Jones’ Kevin Drum recently reminded readers in post called From the Annals of Bad Editors that Flowers for Algernon writer Daniel Keyes went through editors at six publishers before finding one that didn’t want to change the ending of his novel so Charlie stays smart and lives happily ever after.

Earlier this year, Colorado writer Dan Baum used Twitter to write about his love-hate relationship with The New Yorker and Editor David Remnick, though in all honesty, that seemed to be more of a personality mismatch and confluence of unfortunately circumstances than an out and out evil editor situation.

Of course, some editors we love because they’re so good – and you know who you are. They’re the ones we go out of our way to pitch to, turn assignments in early for and pray will turn into steady clients.

Got your own evil editor stories? Do share.

While I’m on vacation this week, I’ll be rerunning some of the best WordCount posts of the year. Look for new posts, including my predictions for the top digital media personalities to watch in 2009, starting January 5. Happy New Year!

Today’s reruns: Make yourself so irresistible editors will fight over you.

What editors want from freelance writers – and how to give it to them

Good assignments start with good editors – here’s how to spot them

Be a team player if you want to write for trade magazines

Freelance mistakes to avoid at all costs

You may be desperate for work, just don’t act like it

True confessions – Do you tell editors what you do when you’re not working for them?

MIT Sloan Management Review: Good freelancers are ‘nanobots’ and that’s no insult

Freelancers love to grouse about bad editors. But good editors are a treasure. Here are my top 10 qualities of a good editor:

1. Has some sense of business etiquette, so they call or email about your story pitches or edits in a timely fashion.

2. Is organized, so they can keep track of multiple writers working on multiple stories for multiple issues without constantly acting like the world’s about to end.

3. Has a solid grasp of their publication or their particular department, so they can explain why a pitch is or isn’t a good fit, and if it’s the latter, make suggestions for changes that would bring it on target.

4. Suggests sources for stories or makes themselves available for brainstorming sessions if you’re  stuck on where to find them.

5. Has solid self esteem, so they don’t feel the need to put their hands all over your copy if it’s good enough as is.

6. Is a prudent copywriter, so whatever work they do to your copy makes it even better.

7. Isn’t a raging egotist, so they relate to writers as equals, not underlings.

8. Doesn’t change their mind and want to a different angle for your story after it’s in and done.

9. Follows through on promises (and contracts), so you get paid what and when you’re supposed to.

10. Shows their appreciation, by occasionally – or in some wonderful cases – regularly giving you assignments.

What qualities would you add?

Dear Editor:

I’m leaving you. It’s been coming on for some time now, but I didn’t want to say anything that would jeopardize what we had until I was absolutely sure. Now I am.

I can’t work for you anymore. I’ve held up my end of the relationship. I’ve done what I said I’d do. I’ve been there when you needed me, when you had no one else to turn to. I came through for you even under extremely trying circumstances when it looked like things weren’t going to work out.

And what do I get in return? You take forever to return my calls or emails. You make promises you don’t keep, especially about money. You twist my words. You make decisions on a whim and unreasonable demands after the fact.

So this is goodbye. I’m sure you’ll find someone to replace me. There are lots of others just like me out there, eager to please, willing to do what it takes for a little recognition.

You probably won’t even miss me. And even though I may end up poorer for it, you can be sure I won’t miss you.

Signed,

Your Freelancer