In this series about editing in the music niche, we’ve covered what editors work on, resources they use, their backgrounds, and common errors. In this final installment, our specialists tell us where the work comes from.
As with any niche, getting work depends on getting known by the people who do hiring. Editors can meet them at industry events, find them listed on a masthead, and write to them directly, saying they are available for work.
In non-music circles, let your music and editing expertise be known. That way people can think of you when the time comes to make a recommendation. That’s what networking is essentially about.
Thanks again to our experts in this series:
Michele Satanove is a classical-musician-turned-editor in British Columbia, Canada.
Katherine Noftz Nagel is a freelance technical writer, editor, web designer, personal tech coach, and mezzo-soprano in New York state.
Pam Smith specializes in editing in music, the arts and humanities, management, and corporate work in Belfast, Northern Ireland.
Kate Unrau is a professional violinist and editor freelancing in Toronto, Canada.
Read other stories in our 5-part series
This article was originally posted on the Copyediting website, June 5, 2017.