How to Get Freelance Editing Work with Big 5 Publishers: A Step-by-Step Guide

Most freelance editors think Big 5 publishers are impossible to crack without insider connections or fancy degrees. Nonsense, I say! (And I speak from experience.)

After working with multiple Big 5 imprints for more than 15 years of my career, I can tell you the truth: These publishers are always on the hunt for skilled freelance editors. Yet thousands of qualified professionals never even apply because they've convinced themselves they're not "Big 5 material."

Here's what I wish someone had told me when I was starting out: Publishers aren't mystical gatekeepers sitting in ivory towers. They're businesses with tight deadlines, overflowing manuscript piles, and production editors who'd love nothing more than to find reliable freelancers who actually understand the assignment.

The real barrier isn't your credentials; it's that most editors approach publisher work completely wrong.

Ready to stop making excuses and start landing actual work with the Big 5? Let's crack the code.

How Freelancing for the Big 5 Works (Spoiler: It's Not That Mysterious)

Unlike indie authors, publishers have established processes, style guides, and testing requirements that make sense once you understand them. They know what they need, they have systems in place, and they're looking for editors who can plug into those systems without creating drama.

Different publishers offer different project types—romance, literary fiction, business books, memoirs. Some specialize in specific genres, while others publish across categories. You'll work on standalone titles, first books in series, or ongoing series with established style sheets and character bibles.

Here's what working with major publishers looks like day-to-day: You typically deal with production editors (also called managing editors), not authors. The production editors email you project offers with all the key details—word count, timeline, rate, and brief synopsis. You say yes or no within 24 hours. If you accept, they send project files on the start date. You edit according to their house style guide, submit your work by the deadline, invoice, and get paid. That's it.

The Real Deal on Publisher Rates and Pay

The money? Usually $22-$27 per hour for proofreading and $32-$37 per hour for copyediting. Before you panic about those numbers being lower than your indie rates, consider this: Publishers handle all the administrative chaos. No client onboarding calls. No chasing invoices or dealing with scope creep. You edit, you submit, you get paid.

Here's the reality about publisher rates: They're pretty much set in stone. Don't expect to negotiate unless you've been with a publisher for at least three years, saying yes to 70% or more of the projects they offer you, and doing fabulous work consistently. Even then, their rates are typically non-negotiable—but hey, it's always worth a shot.

Rush projects do pay higher rates because everyone's stressed and working overtime. Some publishers will tell you their expected pages-per-hour range so you can gauge whether your editing pace aligns with their timeline and budget.

Payment timelines vary from two weeks to three months after you submit your invoice, but most average around 30 days. Factor in your time savings from reduced admin work, and your effective hourly rate might actually be higher than indie work. Plus, steady publisher relationships provide the stable income base that lets you be pickier with higher-paying indie clients.

The 5-Step System to Land Big 5 Publisher Work

Step 1: Master the Fine Art of Not Showing Off

Here's where most editors sabotage themselves: They think publisher tests are their chance to showcase their brilliance. Wrong. These tests measure one critical thing: Can you follow directions without going rogue?

Publishers don't want you to turn their romance novel into the next Great American Novel. They want editors who understand the four levels of editing and know exactly where their job begins and ends. There's developmental editing, line editing, copyediting, and proofreading. Publishers are hiring you for one of these levels (typically copyediting or proofreading), not all four.

Even within copyediting, you need to understand the difference between heavy, medium, and light copyedits. A heavy copyedit might involve significant restructuring of sentences for clarity. A light copyedit focuses on grammar, punctuation, and style guide consistency without changing much else. Publishers will tell you which level they want—your job is to stay in that lane.

I've watched talented editors fail tests because they tried to “elevate” sample texts instead of simply following the Chicago Manual of Style and the specified editing level. Don't be that editor who thinks they know better than the assignment. The test isn't asking "How brilliantly can you rewrite this?" It's asking "Can you work within our specific parameters without scope creep?"

Publishers are strict about this because they have budgets, timelines, and authors who expect a certain type of intervention. If they ask for a light copyedit and you deliver a line edit, you've created problems for everyone.

Step 2: Skip the Black Hole of General Inquiries

Production editors and managing editors make freelancer hiring decisions—not whoever monitors said publisher’s customer service inbox.

Finding these actual humans takes detective work, but it's not rocket science. LinkedIn is your friend. Book acknowledgments are goldmines—authors love thanking their editorial teams by name. Follow publishing professionals on social media, where they occasionally post about expanding their freelancer pools.

When you find real contact information, send emails that prove you're a functioning human being who's done their homework. Mention specific titles they've worked on. Show you actually know their catalog exists.

Step 3: Turn One Win into a Referral Engine

Here's the insider secret: Publishers have multiple imprints, often with completely separate freelancer pools. Your success with one team becomes your golden ticket to empire expansion within the same company.

After nailing your first project, ask your production editor about other imprints that might need freelancers. Publishers talk to each other more than you'd expect—your reputation travels at light speed through editorial circles.

I've gotten referrals from editors I worked with years ago because I made their job easier instead of harder. Good work has a ridiculously long shelf life in this industry.

Step 4: Be Genuinely Helpful Instead of Generically Nice

This isn't about fake networking or schmoozing your way to success. Nobody has time for that nonsense. It's about being genuinely interested in doing good work and making other people's jobs easier.

When you genuinely love a project, say so—production editors remember enthusiasm. When you'd like to work on more books in a series, mention it politely. When you have upcoming availability, let them know instead of assuming they’ll reach out with new projects regularly.

Production editors juggle more projects than should be humanly possible while dealing with authors, designers, marketing teams, and freelancers who all want things yesterday. Be the editor who responds quickly, meets deadlines with zero drama, and communicates proactively about potential problems.

Step 5: Don't Put All Your Freelance Eggs in One Publisher Basket

Diversification isn’t just smart—it’s survival. Even after you land a few projects with one publisher and things seem steady, don’t rely on them 100 percent. I’ve seen this play out repeatedly: Work can dry up suddenly due to budget cuts, seasonal changes, or shifts in their publishing schedule. Some publishers have even moved to offshore their copyediting and proofreading work, leaving reliable freelancers (like yours truly, years ago) scrambling.

Different publishers have different processes, rates, and levels of chaos. Working with multiple houses protects you from slow periods and exposes you to different editorial approaches. Additionally, being known at several publishers gives you industry credibility that compounds over time. When one publisher hits a rough patch, you will have other relationships to fall back on.

Create a strategic approach for each house you want to work with. Research their recent releases—actually read the book descriptions. Understand what types of books they publish. Tailor your outreach as if you actually care about working with them specifically.

What to Expect from Big 5 Publisher Tests

Publisher tests aren't designed to trick you—they're straightforward assessments to see if you can follow their specific requirements without going rogue. Production and managing editors are really looking for editors who'll stay in their lane, ensure text adheres to the style guide, and use a light hand throughout.

They want to see that you'll query the author when needed but keep those queries friendly and to the point. No novel-length explanations about why you changed something—just clear, concise communication that shows you respect both the author's voice and the publisher's process.

Above all, they're testing for restraint. Can you make necessary corrections without rewriting entire paragraphs? Will you fix what needs fixing and leave the rest alone? This light-touch approach is usually what separates successful Big 5 freelancers from the editors who don’t pass the test or, worse, get dropped after one project.

Now here's the part that trips up most people: the waiting game. You'll pass a test, do a victory dance, then hear crickets for months. This is totally normal—publishers have existing relationships and seasonal workflows. Don't sit by your computer waiting for the email to come in. Keep applying elsewhere and send polite availability reminders every few months.

And let's talk about rejection, because it's going to happen. Even seasoned editors don't pass every publisher test. Sometimes you'll nail one house's test and completely fail another's. When you don't pass, ask for feedback if they offer it. Use rejection as market research for your next application. Remember: Failure at one publisher doesn't predict failure at others.

Your Big 5 Publisher Success Checklist 

Once you're ready to start reaching out and taking tests, here's your go-to checklist for every interaction:

Before You Apply

• Research recent releases from your target imprints like you're preparing for a job interview.

• Follow production staff on social media, where they occasionally share opportunities.

• Never send generic "I'm an editor" emails to production editors—be specific.

During the Test

• Read all instructions completely before you begin—this isn't a timed race.

• Focus on style guide and dictionary adherence, not creative brilliance.

• Write professional author queries only for genuine issues.

• Remember: You don't need a perfect score to get on their roster.

After You're Accepted

• Respond to all project offers within 24 hours (even if just to buy time to double-check your calendar).

• Ask questions instead of making assumptions that will come back to bite you later.

• Meet deadlines without last-minute panic emails.

• Say yes to your first project offer if humanly possible.

Pro tip: When returning a project you genuinely enjoyed, mention it in your submission email. Tell them you'd love future work in that series or with that author. These little notes sometimes create exactly the repeat work you want.

Your Next Step 

As you’ve seen, breaking into publisher freelancing isn't about having perfect credentials or secret insider connections. It's about understanding how the system actually works and approaching it systematically.

Your biggest competition isn't other editors with fancier degrees—it's the stories you're telling yourself about why you can't succeed.

Here's your homework assignment: Pick one publisher. Research their recent releases like you're preparing for a job interview. Find one production editor's contact information. Send one professional email expressing interest in freelance opportunities.

That's it! No complex strategy required. Just one genuine email to one real person at one publisher.

Your freelance editing career with the Big 5 is ready when you are. You have the skills, you understand the process, and now you know exactly how to approach publishers professionally. The opportunities are there—take that first step and reach out!