When I was first starting out as a technical editor, one of my biggest concerns was how much to charge. The idea of setting a rate for my work was exciting and frightening at the same time.
I had no idea where to begin. I’d heard that technical writers earned more than technical editors, but knowing that didn’t help me figure out what to charge for my services. How much was more?
Deciding to be proactive about setting my rates, I picked up the phone and called three technical writers I knew. They referred me to some editors they knew.
The editors were very helpful, although a few of them refused to share rate information. Those who were willing to share rate information also shared some tips about how to present rates to clients. I’ll cover that in an upcoming post.
I learned that rates for technical editors covered a broad range—from $15 to $65 or more per hour, depending on your knowledge, skill, and experience (length of time working as a technical editor).
After talking with two of the technical writers I knew who each had almost 20 years of experience and were mentoring me, I decided to charge $20 per hour. They thought I was experienced enough to charge $25, but I was nervous, so I started lower. Within six months, I raised my hourly rate to $25 because I realized they were right. A year later, thanks to one of my mentors, I raised my hourly rate to $35.
In my next post, I’ll explain how that happened and in a future post, I’ll talk about how to set your rate.
When I was 12 years old, I discovered Writers Digest magazine. It was the most fascinating thing I’d ever read and I was a voracious reader. I wondered why school wasn’t nearly as interesting as publishing and I devoured every issue from that point forward.
By the time I started working at InfoWorld, a microcomputer magazine in Silicon Valley, I knew everything there was to know about writing and publishing fiction, how the book publishing industry worked, and how much money fiction writers could earn.
Yet, in spite of studying the publishing industry for more than 10 years, nothing I had studied could have prepared me for the differences between fiction publishing and technical writing and magazine publishing. They were the same, yet they were worlds apart.
One of the main differences was that InfoWorld was a weekly magazine. That meant that we had weekly deadlines. So we didn’t have time to do multiple rewrites, over the course of a year or more, as book writers sometimes did. I’m saying “did” because today some books are written in a matter of days and published online almost immediately. Things certainly have changed.
I found working on a weekly publication very rewarding because we saw the results of our efforts in only seven days. Every week we had a brand new issue of the magazine in our hands. Whereas, in book publishing, it sometimes took a year or more to see your finished work. By that time, you’d forgotten the heartache, hard work, and effort it had taken to complete the book because you were working on several other books.
But I digress. Back to why to choose technical writing:
Speed is at the top of the list. If you’re an instant-gratification-type-of-writer, many technical magazines are published weekly or monthly. If you write computer user guides, many companies update their products every 12 months and they often want these guides written within 3 to 6 months. Marketing collateral has even shorter lead times.
Boredom is not much of a factor with technical writing (unless technology bores you) because turnaround times are generally fast.
Income is generally higher, much higher, in technical publishing than in other publishing arenas because of the demand and more specialized knowledge that’s required.
Cutting Edge technology is kind of addictive. If you like knowing what’s going on behind the scenes, high-tech is the place to be, although you have to be good at keeping secrets because you only get to know about the new products after you sign a non-disclosure agreement.
These are a few reasons technical writers and editors enjoy working in high tech. What are some of your reasons?
Technical writing and editing are not for everyone. In fact, the majority of technical writers I’ve worked with over the years either fell into technical writing or wanted to write fiction. Let’s face it, technical writing is boring, dry, and uninspiring, unless you’re crazy about technology and how it works. Then technical writing is interesting, even fascinating, because you’re often writing about products that are new and about to change people’s lives.
I was one of those writers who fell into working in the high-tech arena. You might say I entered it with more than a little trepidation, even kicking and screaming a bit. I credit the legendary Stewart Alsop II and Apple’s 128k Macintosh computer, with helping me overcome my aversion to computers.
Stewart and I started working at InfoWorld magazine within a day of each other. Stewart was our new editor-in-chief. I was an editorial assistant and knew nothing about computers, except how to make them crash spectacularly (although I didn’t understand just how I managed to do that).
Stewart met with each member of the editorial staff in an effort to get to know his new team. When I confessed my love of publishing, along with my deep reservations that I may have chosen the wrong magazine to work for because of my strong aversion to computers, Stewart encouraged me to give InfoWorld a chance. He told me that as long as I knew how to write, he could teach me about computers. He asked me to give it six months. Although I had serious reservations, Stewart was very certain, so I agreed.
In only three months I was explaining computers to anyone who would listen, thanks to Stewart, his faith in me, and the 128k Mac, Apple’s first Macintosh computer.
When InfoWorld’s editorial staff received a 128k Macintosh to review prior to its release, so we could write about it in time for Apple’s big announcement, I fell in love with it immediately. I’d finally met a computer I could understand. A computer that spoke my language. And it didn’t crash.
A year and a half later, I opened my own editorial consulting business working as a technical writer and editor at such high-tech companies as Apple, IBM, Hewlett-Packard, Hitachi America, and many more—and I never looked back because technology was finally interesting to me.
Some editors work closely with the writers they hire. Others only speak with their writers when they absolutely have to. And still other editors evolve into a mentorship relationship with some of their writers. No matter what type of relationship an editor has with the writers who work for her, there are some things an editor should never say to a writer:
1. Never Talk About Another Writer’s Faults.
It’s not ever right to talk about another person’s faults. It’s unprofessional and the writer you’re confiding in may begin to wonder what you’re saying about him behind his back.
2. Never Promise a Writer an Assignment in Advance.
Never, ever, ever promise a writer an assignment in advance because it if doesn’t come through, your name will be mud with that writer and with every writers he knows.
3. Never Say You’ll Let a Writer Review Her Work Prior to Publication.
Most editors already know this, however, sometimes they get chummy with their favorite writers and try to do favors for them. Most publications have an unwritten rule that writers, especially freelance writers do not get to review their articles prior to publication. They have this rule for a reason. Adhere to it.
4. Never say, “Sure, I’ll Give You a Raise.”
Only promise a raise if you are certain that the company is going to back you on this.
5. Do Not EVER Promise a Writer a Specific Amount of Work Every Month.
Not only will the writer believe what you say, he will depend on that income and be very disappointed if he doesn’t receive the assignments and the income.
I often find I do my best writing when I’m speaking. It’s easier to tell a story verbally than to write it. There’s something about having an audience that makes the words just flow. My listener laughs at all the right places and I’m infused with enthusiasm.
So when I run into a bout of writer’s block and can’t get the words to flow, I tell my story aloud.
The catch is that there’s not always someone nearby to whom I can tell my story. Fortunately, I use a Macintosh computer, so I have a built-in recording studio in the form of GarageBand. When I’m traveling, I use my phone’s voice memo feature. But my favorite mode of breaking through writer’s block is to tell my story out loud.
I’d love to hear how you eliminate writer’s block.
I’ve sat on both sides of the editorial desk and I’ve learned a few things from being both a writer and an editor.
Writing, even freelance writing, bears similarities to regular jobs. Writers often develop business relationships and even friendships with the editors they regularly work with. However, there are some things writers should not ever tell editors, not even editors they consider friends.
Here are 5 things writers should not ever tell editors:
1. I Hate Writing About This Topic.
Editors appreciate writers who are enthusiastic about their assignments. Although editors know that the most successful articles are written by writers who are passionate about a topic, sometimes they just don’t have a choice. They have to assign a topic to someone who probably is not be interested in it. That’s when they ask one of their trusted writers to help them out. If the writer tells the editor that they dislike or hate the topic they’re going to write about, when the editor needs to assign future articles, the writer may only receive assignments that are in his specialty area.
2. I’m Only Writing for You Until I Get Published Elsewhere.
No one appreciates knowing that they are second choice. Editors know that every writer is looking for their next writing gig. However, only those who are indifferent to others’ feelings would say so out loud. Make each editor you work with feel like they’re the best one.
3. I Only Write Because I Have To.
Editors love what they do and they know that the best writers are those who love to write. They also know that the best writing comes from writers who are passionate about writing and about what they write. So do your best to be enthusiastic, even if you’re only pretending. Who knows? You may talk yourself into liking writing.
4. I Earn More Money Than You Do.
Editors already know this. They don’t appreciate you reminding them. And although technical editors earn more than most editors, they still earn less than technical writers. In spite of the fact that editors already know that writers earn more than they do, they prefer to work with you as part of a team and not think about how much more you earn.
5. Don’t Change What I Write Without Letting Me See It First.
Editors work with many writers. They do not have time, nor do most publications permit their editors to provide writers with a copy of their articles prior to publication.
I’ve written before about how writers need to treat writing the same way they treat exercise. Do it regularly—everyday, if possible, because the creative muse easily grows rusty and stiff when it’s not used.
To that end, I’ve developed a series of Writing Warm-Up Exercises you can do to get your creative muse revved up.
If you were following me on Twitter (@writersinkwell) several months ago, you have probably done these 10 Writing Warm-Up Exercises. Try them again because this time you’ll write even more. You should know, however, that these 10 writing exercises are only the tip of the iceberg, so to speak. I have developed more than 100 of them over the years. Someday, I’ll make all 100 available. Until then . . .
I’ve collected the 10 Writing Warm-Up Exercises I posted on Twitter and now you can read them here in one place. Print this post and keep it on your desk to help you get warmed up each morning.
These exercises work best if you can do them at the same time each day. However, if you can’t, just doing them daily still helps get the creative muse working more easily.
Writing Warm-Up Exercise Guidelines
Remember to set a timer, so your thoughts and your writing are not interrupted by you having to look at the clock.
1. For each exercise, write in what I call ‘Stream of Consciousness’ and do not edit anything. Just write.
2. Select an object on your desk & write about it for 2 minutes.
3. Look out the window and write for 3 minutes about the first thing you see.
4. Write for 5 minutes about the last book you read.
5. Write for 5 minutes about your favorite recurring daydream.
6. Write for 5 minutes about planting a summer garden even if you’ve never done it
7. Write in the first person for 7 minutes about what it’s like to be a pirate.
8. Write 7 minutes about yourself from your pet’s perspective.
9. Write 8 minutes in the 1st person about your life in an 1865 log cabin.
10. Write for 9 minutes about your first day of school.
Write 10 minutes about when you realized you wanted to be a writer.
If you want to be a good writer, whatever you do, don’t stop writing!