Working with Publishers: A Freelance Editor’s Guide from the Inside

So, you want to work with publishers. Maybe you’re a seasoned editor looking to expand your freelance client base, or maybe you’re just starting your freelance editing career and wondering how to break into the publishing world. Either way, the good news is that publishers do work with freelancers. Often. But how do you get those gigs, and what do you need to know to keep them?

Our guide gives you a practical look at how freelance editors work with publishers, drawing on our experience as former publishers and current freelancers. We cover what publishers need, where you fit into the process, how to pitch yourself effectively, and how to build the kind of relationship that leads to repeat work and mutual respect.

Because once you’re ‘in’, working with publishers can be one of the most rewarding (and reliable) parts of freelance editing.

Table of Contents

    But First, Terminology

    Before getting into the good stuff, we need to make sure we’re on the same page. If we say ‘publisher’ or ‘publishing’, and the only thing your mind conjures up is a little penguin, that’s okay. Because you’re here to broaden your scope – and the publishing world is bigger and more varied than many freelance editors realise.  

    What Is a Publisher?

    In the simplest terms, a publisher or publishing house is a body that produces books. That’s the core activity. However, how a publisher executes that activity can differ. That’s why there are different types of publishers.

    Traditional Publisher

    These are the big names. Think Penguin, Bloomsbury, Jonathan Ball, Hodder and Stoughton. Traditional publishers often have multiple imprints, large teams, and well-oiled production processes. They acquire manuscripts from agents (or have limited open submission slots), manage every stage of publication in-house or with trusted freelancers, and usually pay authors an advance and royalties.

    Independent Publisher

    Also affectionately known as indie publishers, these companies are smaller than traditional publishers and work, well, independently. Authors can expect more personalised relationships, while functions like editing and production are typically outsourced. 

    Instead of imprints, indie publishers often focus on a niche. For example, Pink Dove Books publishes sweet romances while Mirari Press advocates speculative fiction with diversity. On the opposite spectrum, African Sun Media is an independent academic publisher.

    Publishing Services Provider (PSP)

    These companies provide professional publishing services to their clients. They offer publishing packages that can include the whole shebang, from editing to marketing, or individual services. For example, an author may need help with cover design only.

    A big difference between PSPs and traditional/indie publishers is that they don’t pay royalties, as they don’t cover publishing costs and hope to make it back through book sales. PSPs offer paid professional services as a viable publishing alternative. Reputable South African PSPs include MyeBook and Quickfox Publishing.

    Self-Publishers

    This is when authors take matters into their hands. They manage the entire publishing process and become their own publishers (hence, self-publishers). This typically goes three ways:

      1. Authors are hands-on and execute each step themselves. Self-editing, own layout, direct marketing. 

      2. Authors find freelance editors, designers, and marketers to help them with the respective processes.

      3. Authors use the professional services of a PSP. 

    Why Should You Care About Terminology?

    A publisher is a publisher, right? And you’re an editor. You’ll just work on the manuscript and send it back.

    Well. No.

    Understanding the lingo means you can position your editing business better. Firstly, you can choose what types of publishers you want to work with. Some freelance editors work with self-published authors only. Others are on a regular rotation with selected indie publishers. Secondly, you can show these publishers that you understand their setup and challenges, and naturally offer a tailored solution. 

    Where Do Freelance Editors Fit into the Publishing Process?

    Whichever type of publisher you’re working with, the basic process looks more or less the same:

    You are here. Right at the point where the raw manuscript gets turned into a polished product that’s ready for the world.

    Depending on the project and the publisher, you might be involved in just one part of the editorial phase or you could work on multiple types of editing, such as:

      • Line editing – Refining the flow, tone, and clarity at the sentence level.
      • Language or copyediting – Fixing grammar, punctuation, consistency, and clarity.
      • Proofreading – Catching the final typos and layout slips before printing or uploading.

    The actual timing and scope of your work will depend on how the publisher structures their workflow, whether they have in-house editors, and whether you’re part of a larger freelance team.

    Some publishers will bring you in at the early editorial stage, asking you to collaborate with in-house staff. Others might hand you a nearly final file with a short brief and a quick turnaround. When you’re working with PSPs or self-publishing authors, you may have more freedom to shape your process, as long as you deliver a professional result.

    Bottom line? You’re not just ‘fixing grammar’. You’re playing a key role in bringing a book to life and helping publishers (of all shapes and sizes) meet their deadlines, uphold quality standards, and maintain credibility.

    Tip: A more detailed resource for freelance editors on the publishing process is Publish Like a Pro: The Complete Guide to Successful and Profitable Self-Publishing by Vanessa Wilson and Georgina Hatch.

    Getting In: How to Approach Publishers as a Freelance Editor

    The big question: How do I get my foot in the door?

    We won’t sugar-coat it – breaking in can take time. Ghosting is real. Contact info on websites is outdated. Some publishers quietly cease trading without taking their ‘Submissions’ page down. However, like anything good in editing, it comes down to consistency. Keep showing up, keep improving your pitch, and don’t take silence personally. 

    1. Know Who You’re Pitching To

    Start by identifying publishers who match your editorial interests. Are you into literary fiction? Romance? Academic work? Cookbooks? There’s a publisher out there for every niche, and they’re far more likely to hire you if you get their audience and understand their tone (because you understand the terminology now, right?).

    2. Make the First Move (Professionally)

    When you reach out to a publisher, keep your message clear, friendly, and tailored. Don’t send the same generic emails (“To whom it may concern” or “Dear sir/madam”) to all your prospects. These get discarded instantly. Instead, include:

      • A short, confident intro: who you are and what you offer
      • A summary of your freelance editing experience (even if limited)
      • Your CV or a link to your website/portfolio
      • Testimonials or references, if you have them
      • A breakdown of your services
      • Your niche(s) and the types of manuscripts you work on
      • Any relevant software skills (e.g. Track Changes, PDF markup, editorial tools)

    Just remember, while you should toot your horn in these emails (you’re trying to demonstrate why you’re an excellent editorial partner, after all), they’re not a soapbox. Keep it to the point and include relevant info only. 

    Tip: Read Dave Henderson’s blog about winning more editing business over email. He provides a detailed breakdown, helpful tips, and examples. 

    3. Don’t Just Sit Behind Your Inbox

    Cold email pitching isn’t your only avenue. Publishers are active on various platforms and it’s a matter of finding them where they congregate. Try:

      • Interacting with publishers on social media. Comment on their posts, reshare useful content, and get your name known (professionally, of course).
      • Joining editorial organisations like PEG, CIEP, or your local equivalent. They often run directories that publishers use to find freelancers.
      • Networking with other editors. Word-of-mouth referrals are powerful and often lead to work.

    The Working Relationship: What to Expect

    So, you’ve landed the job. Congrats! Now what?

    Once you’re hired, you become part of a bigger machine (even if you’re working solo in your pyjamas). Publishers rely on freelancers to keep projects on track, and your role is to step in, do your bit, and keep the wheels turning.

    This is what a typical freelance-publisher setup might look like:

      • An editorial brief or job sheet outlining the task, scope, deadline, style guide, and where the manuscript is in the process.
      • A single point of contact, usually an in-house editor or project manager. For small operations (i.e. one-person bands), it can be the publisher themselves.
      • Clear expectations around markup conventions (Track Changes, comments, PDF markup), query handling, and file formats.
      • Deadlines that are tight but usually reasonable, and non-negotiable (seriously, don’t miss them).

    Your job is to follow the brief, raise any red flags thoughtfully (not excessively), and stick to the agreed scope. If you’re proofreading, don’t line edit the whole thing. If you’re doing developmental editing, highlight structural issues, but don’t forget to point out what’s working too.

    Basically: make their life easier, not harder.

    And remember, you’re likely not the only freelancer on the project. Your professionalism (or lack thereof) can affect the entire production schedule. Look at our diagram of the publishing process again. Meeting deadlines, communicating clearly, and delivering clean, on-brief work make you someone the publisher will want to hire again.

    Which is the goal, right?

    How to Be a Publisher’s Favourite Freelancer

    Want to be the freelance editor who gets booked again and again? The one who gets recommended, not just remembered?

    Start by knowing your brief inside out. If there’s a style guide, follow it without needing reminders. That alone puts you ahead of the pack. Next, communicate like a pro – clearly, promptly, and politely, even when deadlines are looming. If something’s not working, flag it, but offer a solution, not just a problem.

    Respect the hierarchy. If an in-house editor or a lead freelancer is managing the project, keep them in the loop and don’t go over their head. Good publishing workflows depend on trust and boundaries. And finally, never ghost a deadline. If you’re going to miss it, let them know early. Better yet, don’t miss it.

    At Blue Leaf Editing, we’ve built long-standing relationships with publishers by doing exactly this: showing up consistently, slotting in smoothly, and supporting the in-house team’s goals, not trying to rewrite their whole process.

    Be professional. Be dependable. Be easy to work with. That’s the freelancer publishers remember and rebook.

    How Freelance Editors Work with Publishers – and Why It Matters

    At its heart, publishing is a collaborative act. Every book that hits the shelves, whether it’s a debut novel or a technical manual, relies on skilled hands working together behind the scenes. Freelance editors are a vital part of that ecosystem.

    Understanding how freelance editors work with publishers isn’t just about landing gigs or ticking boxes on an editorial brief. It’s about stepping into a bigger process with clarity and confidence. When you understand what publishers value, how their workflows operate, and where you can add the most value, you stop being just another name in a freelancer pool. You become a trusted partner.

    And in a world where publishing teams are stretched and deadlines and budgets are tight, being that kind of editor, who delivers quality work, on time, without drama, is a serious asset.

    So yes, it’s about skill. But it’s also about mindset. Freelance editing may feel solitary, but the impact is collective. When you help a publisher meet their deadline, uphold their standards, and launch a better book into the world, you’re contributing to the final product. That’s the real privilege of working with publishers. And the real opportunity.

    Blue Leaf Team

    The Blue Leaf Editing team has over 15 years of combined editing, publishing, and book industry experience. We’re passionate about content and storytelling, and sharing our knowledge with others.