Other Ways to Work in Publishing When the Search Feels Hopeless
Not hearing back from those traditional publishing houses or literary agencies? Here are some ideas.
Let’s be real: The job market is frightening right now, and has been for a while. Someone close to me was laid off last October (in a different industry) and hasn’t gotten so much as an interview. Anywhere. Combine a super-competitive job market in general with the already super-competitive publishing industry, and you’ve got yourself some major obstacles.
I can’t wave a magic wand and give you the ultimate answer to landing a job in publishing. I feel fortunate to be working in the industry at a time where it is especially challenging to get a foot in the door. My job didn’t come about easily—I applied for positions with my company for upwards of six years and had actually given up by the time they reached out on their own. But because of the number of years it took me to land an in-house position, I had to explore other ways to keep a finger on the pulse of the industry.
That’s why I’m going to offer my insights (mostly from my own experience) of ways to get involved with publishing even when the houses and agencies aren’t calling or emailing you back.
Obviously I’ll talk about freelancing and networking, but I’m going to talk about them in a slightly different sense—more so you can pinpoint exactly what your goals are and what outcome you want to see.
It’s also worth mentioning that I’ll mostly be focusing on editorial positions, since that’s where my experience lies. But hopefully some of these tips will give you ideas of ways to get involved with other departments of the industry, as well!
1. Freelancing
My number one piece of advice? Be purposeful and have a game plan if you’re going to freelance.
Yes, a lot of people freelance in publishing—and they come from all different backgrounds. Some worked in house full-time and then decided to make the transition. Others never worked in house at all. Some wanted to work in house but couldn’t get positions. And some are doing both at the same time. Freelancers can offer copyediting, developmental editing and/or editorial assessments, proofreading, query packages, or even a mix of these services.
I was lucky because my first-ever job was in publishing. I was the in-house editor at a literary agency based outside of Atlanta. I spent two years there helping manage the agency’s assisted self-publishing program, so I built up a portfolio of books I had worked on.
However, I should also mention that, at the time, I didn’t know what I was doing. I was fresh out of college, and the extent of my editing experience was providing feedback in creative writing workshops, interning at a literary magazine, and serving as editor-in-chief of our campus literary journal. It might sound like good experience . . . but to be honest, I still had a lot to learn about how the industry actually worked.
Case in point: I mostly did developmental edits for the literary agency, but the books didn’t go through copyediting after that. In fact, I did a sort of combination developmental and copyedit (which is never a good idea). So if you’re going to freelance, make sure you understand the process that books generally go through at a traditional publisher:
Developmental edits (done by the acquiring editor)
Line edits (done by the acquiring editor)
Copyedits (done in house or by a freelancer)
Proofread (done once the book has been typeset)
Once you understand the types of editing stages a book goes through, you can look at each stage and decide which ones you want to offer. Which ones do you have an eye for? Grammar, consistency, fact-checking? Copyediting would be a great choice. Worldbuilding, character development, plot? Try developmental edits.
Do you have an eye for both? Go for it! (But don’t do them at the same time, please.)
Places to Freelance
If you specifically want to focus on book publishing, there are a few avenues to consider when it comes to freelancing.
Freelancer Marketplaces
If you’re looking for a decent level of exposure as a freelancer, I highly recommend the platform Reedsy.
Reedsy is a freelancer marketplace specifically geared toward book publishing. In addition to editors, you can join as a designer, marketer, ghostwriter, translator, and more. You create your profile, add your portfolio and work experience, and submit it to the Reedsy team for consideration. They have a very specific vetting process, looking for well-reviewed, published books you’ve worked on, and will approve or decline your profile based on that. Once you’ve been added to the marketplace, potential clients find you and submit requests for quotes.
Because I had several books from the agency that I worked on under my belt, I was able to submit my profile for consideration, and I was eventually added to their freelancer marketplace. As you can see from the image above, my Reedsy profile is also highlighted on a list of Atlanta-based editors. And while I’m not actively freelancing at the moment, Reedsy helped me gain exposure I would not have otherwise gotten.
There are other freelancer platforms out there, and while Reedsy takes a 10% commission on your projects (plus the Stripe processing fee), the fees decrease once you reach a certain threshold with repeat clients, and the platform is very much book-focused. That’s why I would stray away from places like Upwork and Fiverr, where there’s a much broader pool of freelancers from all industries. Reedsy does a good job monitoring all collaborations and stepping in if issues arise (and in the time I actively freelanced with them, I never encountered major issues).
Thinking about joining Reedsy? Use this referral link!
There are also editorial associations you can join, including the Editorial Freelancers Association (EFA) and ACES: The Society for Editing. I was a member of both these organizations when I was freelancing full-time. You can get access to job postings and find clients through their resources, as well as take editing courses and continue your learning to sharpen your skills.
Your Website and Social Media
Of course, if you prefer not to join a freelancer marketplace, or you aren’t able to get your profile approved (often due to having less experience), you can absolutely promote your own editorial services via your website and active self-promotion. It takes a lot of (unbillable) hours to get yourself the exposure you’re looking for, but by networking and doing outreach on social media platforms, there are absolutely ways to help grow your freelance client base.
Starting a blog, regularly interacting with your followers, and asking specific questions about what potential clients are looking for in an editor are all great ways to engage with your audience and grow your client base.
Publisher Freelancer Databases
I will say upfront that you can generally earn more working directly with authors than with publishing houses. Publishing houses generally pay per hour (whereas when you quote an author directly, you have the option to quote per word), and their offered rates may be lower.
However, if you’re looking for steady work as a freelance copy editor or proofreader, reaching out to a publishing house to join their freelancer database can be a great way to do so.
You’ll generally want to find the managing editor or production editor at the imprint you want to work for. Once you reach out, they’ll send you an editing test and, if you pass, they’ll add you to their roster. Then as copyediting and proofreading projects (depending on what you’ve signed up to do) come across their desk, they might give you a try!
Work is never guaranteed, but if they like your quality of editing, you may get a steadier flow of projects. And if you reach out to multiple publishers and imprints, you increase your chances for continuous work.
2. Libraries
Who in the book-loving community doesn’t love libraries? I volunteered at my local library when I was in high school, and then I worked part-time in one when I was between jobs as an adult.
Libraries are a wonderful way to get involved with books because they have a direct link to publishers when they order books for their catalogs. Working as a library aide can be an invaluable way to keep that finger on the pulse of the industry as well, learn what readers are reading, and become more familiar with all types of age categories and genres.
You can volunteer with your local library or apply for part- or full-time positions. (If you want to become a librarian, you’ll want to get your master’s degree in library and information science, which is obviously a whole other thing!)
Of course, the job market right now is making any position competitive to get. Volunteering might not be feasible for you if you don’t have a financial safety net or another paying job. My advice in these cases? Spend as much time in the library as you can, even if you’re not working there. Get to know the librarians and circulation desk folks. Ask what’s trending, what their favorite recent reads are. All of this will help when it comes time to apply for publishing positions.
The point? You can interact directly with readers through libraries, which is not something a lot of folks working in house get to do. You can build your understanding of the industry and the trends within, all while enjoying the amazing atmosphere of your favorite local book spot.
3. Bookselling
I’ll be upfront: I haven’t specifically worked in a bookstore, so I’m not as familiar with the buying process independent bookstores go through or their relationships with publishers. However, I do know that, whether you’re a sales associate, manager, or owner, working in a bookstore—like libraries—is a great way to keep an eye on what’s currently trending in the market and what readers want to see next.
Booksellers handsell books to their customers. They post their favorite things about the books their store carries. They recommend and get to know their customers and hold events and host authors and so much more.
Working at a bookstore can be tiring, being on your feet and interacting with customers all day, but it can also be incredibly rewarding—both for you and those you meet along the way.
4. Book Blogs and Reviews
If you love reading and reviewing books, consider starting a book blog. This not only shows that you’re reading and keeping up with the market, but it also shows that you know how to think critically about the books out there. Once you’ve built up more of a portfolio and following, see if you can reach out to review sites and journals and work as a freelance book reviewer.
Some places to consider applying to review books: Kirkus Reviews, Publishers Weekly, Booklist, and Readers’ Favorite.
5. Internships
While internships are important to mention, I’m going to group them in with full-time publishing positions, because I believe they are equally competitive to get. A lot more internships are paid nowadays than before, and if you’re able to land an internship, that’s a huge deal! (And can sometimes lead to a full-time position.)
That said, some internships are still unpaid, which poses a financial obstacle to a lot of people. Get your experience where you can, but only if it makes financial sense.
Some places to look for internships (and full-time positions): Publishers Lunch Job Board, Bookjobs.com, and Mediabistro.
6. Networking
I heard the groans. Which is why, for this section, I’m going to speak from the perspective of someone who gets several networking requests each month.
As someone who’s busy with work and a toddler, here are the types of messages I’m more likely to respond to, even if it’s a little delayed on my end:
Personalized messages (even just using my name—and preferably spelling it correctly—is an indicator that you’re truly interested in hearing from me)
Specific questions about my career journey and how I got started
Notes on what your current situation is, so I can understand how best to help you
Informational phone or video chat requests, but nothing too urgent (again, mother of a toddler!)
That’s not to say your message to potential networks has to include all these things. These are just standout points from messages I’ve received over the years that help me help you.
Bonus: Be sure to thank the person you reached out to if they respond, or acknowledge it in some other way. I’ve had times when I spent a good half hour on a long response to someone, only to get no response back at all. I realize we’re all exhausted at this point in time, but a little goes a long way—especially if that person could help bridge you to your next opportunity.
Even if you’re not currently in the publishing industry—or out of a job completely—there are ways to keep yourself apprised of what’s happening on the inside—and to build your skillset and make yourself even more valuable to a publisher or agency. And to be honest? Everything I’ve mentioned above is a valid publishing career—and I stand behind that, 100%.
It might feel hopeless right now (and I’m so, so sorry), but I truly hope these thoughts and ideas will help you fill in your time with some valuable experience and learning tools. Sending all the luck I have!
Thank you, Jamie! This post is so helpful. I will be coming back to this information repeatedly!
It's always good to get a nudge to do the outreach you're avoiding! Thanks for this post.