Many editors start their careers as in-house employees before going freelance, some of us remain with organizations throughout our careers, and some oscillate between freelancing and working in-house. We often focus on freelancing, but it’s time to look at what our in-house colleagues do. In this instalment of In-House Editor, we meet Lisa Frenette.
Lisa Frenette works as an editor for Portage & Main Press and its imprint HighWater Press. As an in-house editor, she is responsible for guiding manuscripts through all stages of the publication process, from acquisition, to editing, and finally, to print. As a Mi’kmaw editor, Lisa is particularly honoured to work with the press’s Indigenous authors and creatives, helping to bring their stories into the literary landscape. In 2026, she was the recipient of the Tom Fairley Award for Editorial Excellence for her work on REDress: Art, Action, and the Power of Presence.
What are your responsibilities, and what subject matter do you deal with in a typical workday?
A typical workday for me can vary depending on where I am in the production schedule for my books. I juggle several book projects at one time, and some of my books may be in the early stages of the editing process, while others may be nearing the final stages and heading to print. My days often look like prioritizing tasks that are time-sensitive or are more involved; this ensures that these tasks don’t fall behind. For example, completing my substantive edits of a manuscript is essential to keep the project on track. Sticking to production schedules is very important, as delays at one stage in the process can create a domino effect on other parts of the process.
In terms of subject matter, I mostly work on our non-fiction titles, which can include anthologies, educational resources, and teacher guides. I also work on our fictional young adult (YA) titles, and some picture books. Most of these titles are by our Indigenous authors, and I love that I get to combine my love for editing and Indigenous literature in this role!
What skills have been most valuable in navigating your in-house role as opposed to freelancing?
Being a strong oral communicator has been a valuable skill working as an in-house editor. When working freelance, you are often working alone for long periods of time. Communication with authors is usually limited to email. As an in-house editor, you are frequently communicating with your team members about your projects, their projects, and the day-to-day happenings of the press. Being able to communicate confidently is a skill that not only helps you succeed in your role as an editor, but it also helps your relationships succeed. Being an in-house editor is more than just working with words on the page; you are working with your authors over several months or years, and building a good relationship with them is key. Good relations are made with open communication that clearly conveys feedback, expectations, and goals.
Do you have to collaborate with other team members, and who are they?
I regularly collaborate with nearly every member of the Portage & Main Press team in some way or another. The editorial team is made up of other editors, including a senior editor and a managing editor. I collaborate with them daily and weekly about my projects, including working through design decisions, questions or challenges, status updates, and anything else related to the production of my books. I also collaborate with the marketing manager, sales manager, and production manager. These collaborations aren’t as frequent, but involve pivotal decisions about the book, including endorsements, book covers, advance reader copies (ARCs), book specs, and anything else needed to support the production of the book.
How does working as part of a team affect or change your editing process, as opposed to working on your own?
Working as part of a team means that I am not just working on my own books. There are times when I will jump in to assist a colleague with their book when they need an extra pair of hands, or eyes, on the work. This might look like doing a second read of a manuscript before the substantive editing phase is completed, proofreading a cover before it goes to print, or writing literary image descriptions for a picture book. This role requires me to wear different editing caps, depending on who needs help and with what. Even though we all work on our own books, we are a team, and we all want each and every book to succeed!
What advice can you give to in-house editors who are looking to stand out during an interview and/or in their role?
My advice is to think about who you are as an editor. Everyone can learn editing skills, but no one can be you. How does who you are as a person mesh with who you are as an editor? What do you bring to the table that no one else can? Maybe it is leadership skills, or communication skills, or experience with InDesign. There are so many more skills needed for in-house editing that expand beyond the typical copy editing and proofreading skills. If you can highlight additional skills that set you apart from the rest – and skills that would prove useful to the press – then you are sure to shine.
What are the biggest advantages of working in-house versus freelance?
I love that I get to bounce ideas off my team members! Working as a freelancer, you are often making decisions on your own, and it is easy to second-guess your decisions. Having a team of editors that you can go to with a style decision, design dilemma, or production question helps take the weight off your shoulders. What I’ve come to realize is that every editor needs help sometimes, and that asking questions or seeking advice is what makes a good editor. Some of my fondest memories as an editor are when I was able to work through an editing dilemma with my team and come up with the perfect solution. Working with others creates the most beautiful results!
What’s something you know now that you wish you knew back when you were starting this career?
I think the biggest thing I’ve learned is just how much this job is relational. Before I became an editor, I used to think an editor was working with words, reading cool manuscripts, and finding pesky errors. While editing is all of these things, it is so much more. This is particularly true working as an in-house editor. You are working with people daily; not only with your team members but your authors, too. You are collaborating, sharing ideas, working through challenges, envisioning, imagining, and everything in-between. This work involves using your voice, and doing so in a way that is caring, empathetic, understanding, and open. The true heart of editorial work is our relations with one another.
This article was copy edited by Emily Faubert, owner of MLE Style Editing and PhD student at the University of Toronto’s Faculty of Information.
