Editing: Sprint or Marathon?

This week on Twitter there was a good conversation about all-nighters. 

Some people called them toxic. Others enjoyed it the occasional adrenaline rush. 

So which is it?

I’m not much of a runner.

That should probably change; editing is a sedentary desk job, after all.

When I do run, it’s easy to start out fast. “This feels great. I got this!” But a few minutes later (let’s be honest, probably 30 seconds) I have to slow down. If I keep going at this pace, my exercise is going to be over quick. 

When we’re young editors, It’s easy to sprint. We have energy, often no families, we enjoy the work and are working with friends—who wouldn’t want to grab a pizza and stay in the edit suite all night?

But the longer we are editors, the harder this becomes. Our bodies don’t hold up as well under the stress; we start families and are needed at home; we realize we enjoy other things more than locked away in a windowless room. 

The mental shift is this: an editing career is a marathon, not a sprint. 

Climbing Mount Everest is a different discussion than hiking a nearby hill. A cross-country road trip needs different preparation than a trip to the grocery store.

The post-production industry has long been a rush culture. Even top studios like Marvel are being called out for overworking their VFX people. 

Ironically, this is happening in the midst of a 4-day work week revolution. Countries and businesses around the world are realizing workers are healthier and more productive when they have appropriate time to rest. Who woulda thought?

I know what you’re saying—most of the time editors can’t control whether they are rushed or not. And that's true—as the last step in the pipeline, we receive the compounded effect of all the delays before us. 

That doesn’t mean we are helpless, or that we shouldn’t reach outside of the sprint lifestyle. Because just like going for a run, a sprint pace can only be sustained for so long. 

As we go into the weekend, think of how you can change from a sprint to a marathon.

Need some ideas? Check out this Twitter thread, whether you are a freelance or staff editor. 

Q&A

An editor from Twitter asked:

Here’s my reply: 

It sounds like you want to get new clients, and also move into new genres (TV, businesses, film). 

For getting new clients, referrals from fellow editors are great. The network of editors you know is a huge part of getting new work. A key part is letting them know you’re available for work, and what kind of work you want. Try to connect with 1-2 editor friends (old and new) a week. 

For getting outside of your network, you need to introduce yourself. Social media and email makes this really easy. Start by pointing out something particular you like about their work. “Loved your latest YouTube video. This part really stood out.” Try to reach out to 3-5 people you’d love to work with each week. 

For moving into new genres, you need to introduce yourself to people who work in those genres and you need examples of your work in that genre. It helps to be specific about what genre you want to work in. 

To introduce yourself, follow the same steps as above. To get examples, edit any project you can find for free. Do this 2-3 times, then compile a reel and start charging for it. Partner with anyone you can, or make projects yourself. 

Once you have samples, share it with people you’ve met in those genres. Build relationships with them and show you are growing your skills, and you’ll be on their radar when they need someone.

That’s it for today! 

Have a question about your career? Hit reply and I’ll answer it in an upcoming issue.

Keep cutting,

- Jesse

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