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The ideal audience for this post is editors, especially newer ones. Authors who'd like a sneak peek into issues editors face are welcome to read this, too.
Editors, I’ve got four words of advice for you:
"They aren't your client."
Any new editor who I've mentored and is reading this now is probably laughing because I say this a lot.
What do I mean by "they aren't your client"?
This is probably best explained with some theoretical situations:
Scenario 1:
A potential client gets in touch about a quote but refuses to send the manuscript because of some misguided idea they have (or bad advice they received) that anyone who sees their work will steal it. They hem and haw. How much time are you going to spend trying to convince someone you simply want to get an idea of the scope of the job and how much time it'll take you to do it?
When this happens to me, I gently suggest maybe they're not ready for an editor if the process makes them that uncomfortable. I encourage them to do their research into the fact that copyright exists the minute you put words to paper, and that means electronically, too. I reassure them that professional editors are not interested in stealing their work. I encourage them to ask questions and vet me, but after several back-and-forths, if I sense there is no movement, then I release them with kindness, wish them luck with their project, and move on. My time is valuable and I'm not here to convince anyone that they NEED me to edit their work.
It's okay if they're not my client. Someone out there is. And someone out there is their editor if it isn't me. It's all good!
Scenario 2:
An author sent a sample for you to evaluate the work and prepare a quote. They sent the first chapter and it didn't look too messy, so you quoted the job based on that, but when you begin, you realize it needs a lot more work than you thought. Now you're stuck possibly missing a deadline or not being fairly compensated for increased scope ... or are you?
What's the solution here? Well, it's fair to reach out and let the client know the part of the manuscript they sent for evaluation wasn't representative of the whole piece and that there will have to be an increase in scope/time/fee. Renegotiate. If they balk, then they weren't your client. It's a rough lesson to learn, but it's okay that you went through it to learn it. (And now you know to ask for the full manuscript before evaluating the job.)
Scenario 3:
You're a new editor who has successfully passed some editing courses and you really want that first job under your belt. You throw a wide net out there in marketing land, trying to reel in any fish you can. The problem with that scenario is that you may not be a good fit for an author's needs.
Wait, scratch that. Let me revise: You WILL NOT BE a good fit for EVERY author's needs. Period. You could be the best editor out there, gotten all As in your coursework, and still not everyone out there is your client.
Are you triggered by violent scenes? Maybe don't waste time pitching that author who writes serial killer thrillers. They aren't your client.
Only like clean romance? Maybe don't try to reel in that paranormal shifter romance writer who writes explicit sex scenes. They aren't your client.
Intimidated by bibliography and reference rules in nonfiction? You could have a great love of history but not be a good fit for a publisher of history books unless you're ready to dive into that morass of references and bib. That publisher may not be your client unless and until you wrap your head around how to treat references.
When you're new, it's tempting to try to be everything to everyone. Instead, be thoughtful about your interests, skills, and understanding of genres and expectations for those genres (including nonfiction). Also, think about what you like or dislike. Tailor your marketing to the writers whose work fits your vision. Those other authors aren't your clients, but the ones who fit your vision are, and you are all (editor and authors) better served if you honor this about yourself up front. In the meantime, if you know you want to work with a certain type of author but don't have that experience yet, make it a goal to learn more about their genre, conventions for that genre, and, in the case of nonfiction (if that's what you really want to do) dive into the references chapters of Chicago Manual of Style and learn all about how to handle notes and bibliography. Just because someone isn't your client now doesn't meant they couldn't be your client in the future.
Scenario 4:
You put a lot of time into a beautiful quote and project proposal, fair to both you and author in terms of scope of work, timeline, and price. They say they want to move ahead, but try to negotiate the price down. Are they your client? If they are respectful of you, your expertise and your time, but they're on a budget, and you can meet them at a new price without causing yourself any issues, then they are potentially your client. (Note that you are not obligated to ever discount your work; some people do discount in certain scenarios or offer pro bono work, but don't let that take up all of your resources.)
However, if a potential client is disrespectful, demanding, unreasonable, or simply can't afford you: they aren't your client. Wish them well, and let them find an editor who can meet their budget/expectations. I have a lot of respect for authors who realized I wasn't their editor for some reason (usually they couldn't afford the cost but wanted to be respectful of my value as a professional and not try to get a discount), and we still have a good relationship today. They have referred me to other authors, and I have promoted their books. There are good relationships to be had even when someone isn't your client, and that in and of itself is a gift.
Scenario 5:
You get a manuscript to evaluate for a proofread, but you realize there's a lot more needed than a simple check for grammar, spelling, punctuation, and the other things involved in a proofread. (See how I define a proofread
here.) For example: all of the dialogue needs to be formatted, there's head-hopping, and the book just doesn't quite hold together plot-wise: Do you go ahead and quote a proofread? Or do you let the author know the truth?
Maybe I'm in the minority, but I let them know the truth. They aren't my client. They're the client of a developmental editor, line editor, or copy editor (whatever the case may be) but not a proofreader. OR: they're my client if I feel the work needed is within my skillset, in which case, I'll negotiate for that scope, NOT a simple proofread. If they agree and we move ahead, then great! But if they are convinced they only need a proofread, and I know that scope is not appropriate, then I will gently refuse the job.
The way I see it is this: It's not fair to authors for an editor to ignore major issues in a manuscript just to get the proofreading job. It's also not fair for authors to expect an editor to do free labor or go against their professional opinion when it comes to what a book needs. I will always let an author know if I think their book is or is not ready for me. That's the most ethical thing to do. Until their manuscript is in shape to be proofread, then: they're not my proofreading client.
And that's totally okay!
Scenario 6:
You've been contacted by an possible client for a lengthy job. You've spent valuable time and effort preparing a thoughtful quote, only to have them tell you they'd rather use an AI tool instead of your services to clean up what three other editors have missed.
The obvious reason they aren't your client is because they have just decided they'd prefer to use a free AI tool instead of paying for your professional services. You could try to give them a counterargument as to how AI misses things or introduces errors, but that's probably going to be ignored if someone is already convinced they need AI.
But the other question you should be asking yourself is this: they've had three other editors? And they still don't believe their work has been sufficiently edited? This is definitely a sign that you need to ask good questions to find out what's going on.
I will say this: if it's a situation where the author is critical of the editors, please be careful about throwing those other editors under the bus in an attempt to get the job. After all, there are two sides to every story. The author may have misunderstood the scope of the editing job, or perhaps they introduced errors later. Or maybe they were really burned by three different editors...but the number of editors is definitely a sign that you need to figure out what's going on so you truly understand the scope of the job.
Either way, grace, understanding, and diplomacy are the way to go in a situation like this, and perhaps at the end of the conversation you'll get some paid work ...but maybe not. And in that case, it's okay that the author wasn't your client.
Conclusion
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Don't be discouraged if someone isn't your client (or your editor).
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None of what I've said above is a judgment on anyone: it's okay for anyone in the process to say "Hey, maybe this isn't a good match" for any reason. Indeed, all of my contracts have what I call a "kill clause" so that at any time and for any reason, the parties can stop working together and wrap it up according to whatever they agreed to (payment for partial services rendered, for instance—and if you want contracts help for editing clients,
this book is a great resource!).
It's worth noting that the majority of people with whom I was honest thanked me for steering them in the right direction. In those cases, it led them to find the right help for their book, and I'm happy for them, even if they weren't MY client.
Do you see where I'm going with this?
I hope this helps any editors navigate the mindset around whether or not to work with someone. (Plus, if any authors are reading this, you can see some of what goes on in our side of the writing industry.) It isn't something that needs to be stressful or contentious. Knowing where you stand on whether someone is your client is an empowering tool and will help you navigate your career with more ease.
Got any other good scenarios or examples of when it's okay for someone to not be your client? Drop a comment below! (Please keep comments thoughtful, respectful, and mindful of privacy.)
In the meantime, don't be disappointed if someone isn't your client. Anytime something doesn't work out, you are freed up to find the RIGHT client. (And this goes both ways: authors are freed up to find the RIGHT editor!)
Win-win, as far as I'm concerned!
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