This transcript was generated from the episode audio and may contain minor errors.
[Music]
In this week's Throwback Thursday slash Where Are They Now? segment, we're gonna hear from a New York City editor who leaves her publishing job after having a child and she now works freelance. So now she is editing, but not for a publishing house. She has authors as clients. So we could say this independent book editor turns over a new leaf.
And welcome to Side Hustle School. Chris Guillebeau here. Last week we heard from an ethical hacker who carved out a niche in cybersecurity by safeguarding small businesses. This weekly segment, of course, is all about going back to someone that we featured sometimes years ago, since the podcast has been going for a while and hearing some updates, what's changed? What have they learned?
Have they improved? Any particular challenges or difficulties? Sometimes we've heard from businesses that have completely restructured or somebody's gone on to a new project. Various stories, case studies, all with the idea of presenting a model that you can learn from perhaps in your own quest for your own side hustle, your own income generating project. Or if you already have that, maybe just kind of some inspiration to keep going or motivation or practical tip perhaps.
Today we'll hear from Elizabeth. She is that independent book editor in New York City. I'll come back at the end with some quick comments, but we're gonna focus the time on her. So let's pass the mic to Elizabeth. [Music]
- After years of grinding away in a high pressure environment of a major publishing house, the birth of my child promoted a reevaluation of my career opportunities.
The long hours and constant stress that once fueled my ambition began to clash with the new life I envisioned for my family and me. That's when I decided to channel my extensive experience into freelance development editing business, allowing me the flexibility to nurture both my professional passion and my growing family. Transitioning from a full-time editorial position to freelance took time. My previous role had me working closely with authors to shape the narrative and structure of their manuscripts. A skill I knew could be invaluable to independent authors in the publishing world, banking on my skills and the network I'd built over the years.
In the early days, I charged 1,500 per project, a flat rate I felt reflected my expertise yet was accessible to self-publishing authors. However, as demand for my services grew and I became more aware of the time and effort each manuscript required, I realized the need to adjust my pricing strategy. Now my rates start at 2,500 for a full manuscript developmental edit, which includes comprehensive feedback on plot, character development, pricing and structure, along with a detailed report and follow-up consultation. One of the most significant lessons I've learned since going freelance is the importance of being selective about the projects I take on. Initially eager to build my client base, I accepted nearly every manuscript that came my way.
This approach quickly proved unsustainable, leading to burnout and realization that not every project was the right fit for my skillset or editorial approach. Now I prioritize projects that resonate with me and where I feel my contribution can genuinely make a difference. This selectiveness has not only improved the quality of my work, but has also led to more fulfilling collaborations with authors who value my input and are committed to the editing process. Marketing my services required a strategic approach. I don't use social media, partly because I don't really like it, but I did set up a dedicated LinkedIn page for the business.
I also offered a free initial consultation to discuss potential clients' needs and how I can help bring their vision to life. This process has helped me attract serious inquiries and build a steady stream of projects. More than anything else, satisfied authors and editors I used to work with have become some of my best advocates, recommending my services. I've also developed partnerships with two self-publishing platforms, offering their clients editing packages as part of their publishing services. As my business has grown, so too has my understanding of the value I bring to each project.
I've become more adept at negotiating contracts that reflect the scope of work, ensuring that both parties have clear expectations from the outset. This clarity has been crucial in maintaining positive working relationships and ensuring project success. The one thing I'm most excited about is that I now have a three-month wait list. Rather than just take on more and more, I've set limits on the amount of work I'm willing to handle in any given month or season. As I look to the future, I'm excited to continue supporting authors and bringing their stories to life, one manuscript at a time.
[Music]
Big thanks to Elizabeth for sharing those updates with us. Listeners, let me know what you think and who you'd like to see featured from our archives of more than a thousand stories, well over 2,600 episodes. In fact, if you have a question and update for us about your hustle, just some feedback. It's always welcome. We want to improve.
We want to do a better job for you for the rest of the year, going every single day, seven days a week, sidehustleschool.com. There's some resources, notes pages for every episode. And of course, much more is on the way. Again, seven days a week, always completely free. Wherever you like to listen.
My name is Chris Guillebeau. This is "Side Hustle School." [Music]
from the Onward Project.
