From In-House to Freelance: How Editing Changes When You Leave the Building

When I first moved from in-house editing to freelancing, I assumed the work would feel about the same — editing is editing, isn’t it? I quickly learned I was wrong. The foundation is the same, but almost everything else shifts: the writers you collaborate with, the expectations on your time and even the way you value your own work.

The clients

One of the first differences I noticed was the experience level of the writers I worked with. In-house, manuscripts had passed through multiple revisions and the filter of literary agents. The authors knew the ropes of storytelling and sometimes the industry itself.

As a freelancer, I usually meet writers earlier in their careers. Many are drafting their first novel, still learning structure, pacing and storytelling basics. (I talk a lot about info-dumping, writing cliches and showing versus telling, for example.) In this context, developmental editing is less fine-tuning and more guiding — helping writers build their toolkit.

The role itself

In-house editing is a misnomer, because “editing” is only a fraction of the job. The bulk of my time was spent coordinating acquisitions, production, marketing, PR and sales. I was the point person shepherding books through entire life cycles. The part of the job I loved most — the actual editing — often had to be done at night or on weekends. 

Freelancing brings the focus back to editing. While there’s still the administrative work of booking clients and following up on projects, I spend most of the workday deep in a manuscript. 

One new element of the job is social media, which I use to promote my services and connect with writers. It’s more “work,” but something I truly enjoy.

Workload

In-house, you’re responsible for a “list,” meaning a roster of authors and titles. It can quickly become overwhelming: multiple authors, multiple releases, frontlist and backlist titles all at once. The work never stops and burnout is common.

Freelancing isn’t automatically easier, but it puts you in control. You choose how many projects to take on, when to schedule them and how to balance the demands on your time. Of course, in the early days, it’s tempting to say yes to everything — but at least the decision is yours.

Compensation and value

Publishing salaries are notoriously low. Entry-level positions often require unpaid internships, and once you’re in, raises and promotions rarely reflect your responsibilities and working overtime is the norm.

Freelancing has its own challenges, like setting my rates and balancing my time. After years in-house, I felt uncomfortable asking for fair compensation. With time, I came to recognize the value of my work, and the satisfaction of being paid accordingly was no small thing.

Looking back, looking forward

For editors considering a move from in-house to freelance or just starting out: it takes adjustment, but the skills you build in either setting are transferable and invaluable. 

When I thought “editing is editing,” I couldn’t have been more wrong. I don’t regret my in-house years. They gave me the knowledge and experience I rely on every day. But I also don’t see myself going back. Now I do what I love most: work closely with writers on their stories. For me, freelance editing feels like the dream job I’d been chasing all along.

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