Talking about fiction: Why bother? SfEP conference preview

By Gale Winskill

At the time of writing there are almost eight weeks to go before my 2016 SfEP conference session: Let’s talk about text. As editors we deal with text on a daily basis but we don’t necessarily talk about it. We might mutter exasperatedly to ourselves in the confines of our working space, communicate our thoughts diplomatically (or not) on paper or in emails … but in these days of remote working we rarely discuss the nitty-gritty of a text face to face with another person.

So, much to my surprise, I find that at some point I seem to have agreed to lead a group discussion, masquerading as a live editing session on fiction. Currently in the midst of trying to choose/tweak/finalise my materials for said event, part of me wishes that I hadn’t agreed to talk about anything to do with any sort of text. After all, most of the time not talking about text seems to work just fine, doesn’t it?

conversation-1468159_640And what on earth am I supposed to talk about with regard to editing fiction anyway? After all, it’s a construct, a conceit, a deception. There’s no truth to it, so there’s certainly no benefit in discussing it, is there?

Like the five stages of ‘panic-buying’ – something to do with the financial world apparently – my preparations for the live editing session have gone through similar degrees of doubt and anxiety:

  1. Denial: Agree to do live editing session on fiction and then promptly blank all recollection of this fact from my mind. After all, September is ages away, so there’s no need to worry about it.
  2. Anger: Receive polite request to deliver the session summary during a particularly intense work crisis, wonder why on earth I agreed to do this and get cross with myself for not saying ‘no’. Write something vaguely pertinent together with my fellow group leaders, then bury myself in work and revert to denial.
  3. Bargaining: Eventually read the live editing brief properly and try to convince myself that I can use one text for all three parts of the session, as surely that will be easier! Stare blindly at my author folders and bookshelves for inspiration. None is forthcoming.
  4. Depression: Decide that the subject of fiction is far too large to squeeze into an hour-and-a-half session. Book a last-minute holiday two weeks before my children’s school term finishes at the end of June and flee the country. (I’m just back!)
  5. Acceptance: While away, and on receipt of another gently worded reminder that session materials need to be delivered by a certain date, acknowledge that all of the above is utterly self-indulgent, it’s too late to back out and that working through these various stages is actually my natural default setting. In addition, (most of) my authors are wonderful, generous people who might just grant me permission to do all sorts of unspeakable things to their text without asking too many questions.

So, with another conference deadline looming – one that theoretically means I now have a rough idea of what I might talk about in my session – I have rediscovered three things: that panic, especially when interrupted by a two-week holiday and a pile of good books, is ultimately a great enabler; that the patience and good humour of the conference director are seemingly endless; and that text – even fiction – really does merit talking about.

And how did this final epiphany emerge? Well, the longer I stared at my selected text options, the more I swithered about what ought to be altered, left or queried. And on further study, I found other things that could potentially be marked or considered. Then, on comparing these musings with what I had actually marked on the texts when I edited them properly – years ago in some cases – I discovered that some of my thoughts were now ever so slightly different.

So, does that mean I was wrong back then, or that I am wrong now? What’s the right answer? And if I don’t know, what hope is there for my live editing group? Will they agree or disagree with me, or with one another? Will they even glean the same approximate understanding of the texts?

To be honest, it doesn’t matter. As I have said on many previous occasions, fiction has no one right answer … and the myriad possible interpretations of any fictional text are, therefore, definitely worth talking about for no other reason than they are endlessly fascinating and a great starting point for an interesting blether!

photo_Gale WinskillGale Winskill is an Advanced Professional member of the SfEP who enjoys a challenge. She leaves it up to the reader to decide whether there is any truth or merit to the above text, but admits that there may be a large chunk of fiction in there somewhere … or not. Discuss (preferably in her live editing fiction session).

 

Posted by Tracey Roberts, SfEP blog coordinator.
Proofread by SfEP Entry-Level Member Sarah Dronfield.

The views expressed here do not necessarily reflect those of the SfEP

New features in the SfEP Directory

New features in the SfEP Directory

One of the biggest benefits of being a Professional or Advanced Professional Member of the SfEP is free entry in the Society’s Directory of Editorial Services. This online resource lists more than 600 members of the Society – the ideal place for clients to search for editors and proofreaders with a huge array of skills and specialisms.

Since releasing the new version of the SfEP website at the end of 2015, we’ve been busy enhancing the Directory. In this post, I’m going to cover some new features that we think you’ll like.

Profile photos

Directory entries now support the display of a small, square profile photo. These appear to the left of the membership grade badge, at 128×128 pixels. Here are a couple of examples:

Sample photos

You can supply a larger image if that’s more convenient – we’ll handle the scaling for you.

Featured section

If you want a certain part of your entry to stand out, just ask for it to be your featured section. We’ll apply a separate style to that part of the entry. Featured content is usually best placed at the top of the entry.

Sample featured section

Testimonials

You can make your entry stand out by including recommendations from your clients. We now have a new style for displaying testimonials. Just send us the text and the name of the client, and we’ll do the rest.

Sample testimonial

Videos

The Directory now supports videos, so you can display content from YouTube, Vimeo and any other video-sharing service. All we need from you is the iframe embed code.

On YouTube, the iframe code can be found by clicking Share and then Embed.

YouTube embed code

On Vimeo, the Share button leads directly to the iframe code.

Vimeo embed code

Videos are a great way to promote your services. I’ve blogged about this in another post: The rise of video in promoting editorial services.

Search engine visibility

By default, we allow search engines to index Directory entries. A Google search for your name should mean your entry appears in the search results. For most members, that’s good news.

But some members have told us that they’d prefer not to have their details indexed by search engines. So, we’ve added an option to hide individual entries from the bots that crawl the internet.

If you want to hide your Directory entry from search engines, just let us know.

How to update your Directory entry

Email us for updates to your entry

You can request an update to your Directory entry by emailing online-directory@sfep.org.uk.

We’re usually able to apply all changes within one working day. Just tell us which changes to make, and we’ll handle the details.

Want to be listed in the Directory?

If you’re a Professional or Advanced Professional Member, you can request a Directory listing via the SfEP Members’ area.

If you’re an Entry-Level or Intermediate Member, take a look at what you need to do to upgrade your membership. Many members listed in the Directory cite it as one of their main sources of income.

If you’re not part of the membership yet, perhaps you’ll consider joining the SfEP.

The future of the Directory

I hope you’ll agree that these new features are a good start. But we want the SfEP Directory to be even better.

We’re working hard behind the scenes so that you can update your own entry directly. We’ll let you know as soon as this feature is ready. But remember: you can request an update to your entry at any time – just email online-directory@sfep.org.uk to let us know.

Over to you

OK, that’s it for now. What do you think of the new-look Directory? Let us know by leaving a comment. We’d love to hear from you.

John EspirianJohn Espirian (@espirian) is the SfEP’s internet director and principal forum administrator.

As a freelance technical writer, John specialises in producing online help content that’s actually helpful.

This article was proofread by Lucy Williams.

‘No’ your way to a better business: SfEP conference session preview

By Laura Poole

As I write this, I’m nearly deluged in paid work. I said ‘yes!’ to clients about three times more than I should have. My bank account will be very happy in about six weeks, but in the meantime I’m getting up early, squeezing in work everywhere, skipping exercise, deferring personal appointments, and drinking extra coffee.

In the 20 years I have been freelancing, I have noticed that it is very hard to say no. I’ve noticed it with colleagues, too, and my theory is this: as freelancers, we train ourselves to say yes because yes = paycheck. When we started out, we probably said yes to everything because we were desperate for work, eager to expand our client base, excited to learn new things, and appreciative of the income. Publishing seems to be a woman-dominated field (at least in editorial), and women often tend to be people pleasers, which can lead to a yes when a no would be better.

hand-no
When we say yes a lot, it can feel good! Gratification: we made someone happy. Security: work is coming in, money will be earned. Pride: look how much I got done! Too many yeses lead to a feast of work, with concomitant stress. Our bodies, our schedules, our families, and even our friends suffer when we do nothing but work. A feast portion is all too often followed by a famine portion. We’re briefly grateful for a break, a rest, some recovery, but then we start to panic about lack of work… so we start drumming up more business, saying yes to lots more things, and then we’re back in the feast portion again.

The problem is, these vicious circles of stress and panic are not healthy, and they are not sustainable in the long run. For full-time freelancers, this is almost certainly not the lifestyle you envisioned.

There are many steps, tools, and techniques for reclaiming your life and business. In this post, I offer a key one: start saying no. It may seem counterintuitive, and it may feel almost physically uncomfortable to get the words out, but it’s the simplest thing you can do.

Check your instinct to immediately say yes to everything and everyone (and that includes personal requests, like tea with friends or dinner out). Give each request – appointment, social event, client project – some careful thought. Is it coming at a time when you already have plenty of work? Are you already overloaded, or will the schedule free up? Is it work that you truly want to do, or something that’s not quite in your core skills and interests (e.g. proofreading when you really do developmental editing). Think about what you truly want in your life – are you missing time for hobbies, time with family, or even just relaxing? Haven’t taken a vacation in a long time? Reclaim your sanity by saying no as needed.

The tough part is saying no without feeling guilty, without softening it with a lengthy apology or explanation. Remember: ‘No’ is a complete sentence. Loyal clients will know they can come back to you and may even ask when you are available.

When you say no to the things that don’t serve you – that overload your schedule, that aren’t in your core business, that are just a chore and not an opportunity – you will free up time and energy for the things that do serve you. That alone can shape your business in exciting new ways, opening more doors than you ever thought possible.

Start now: what can you start saying no to?

My session at the SfEP conference is ‘Taking charge of your freelance life’ (Monday 9–11am).

laurapoole resized Laura Poole (Twitter: @lepoole) started her full-time freelance business in 1997. She edits exclusively for scholarly university presses. She started training editors in 2009 with privately run workshops. In 2015, she joined with Erin Brenner to become the co-owner of Copyediting, for which she is also the Director of Training. She loves Jelly Babies.

 

Posted by Tracey Roberts, SfEP blog coordinator

The views expressed here do not necessarily reflect those of the SfEP

Social media round-up – June 2016

In case you missed them, here are some of the most popular links shared across the SfEP’s social media channels (Facebook, Twitter and LinkedIn) in June.

share on social media

  1. Which words are people looking up post-Brexit? http://blog.oxforddictionaries.com/2016/06/word-trends-brexit/
  2. Digital publishing is now ‘fabric’, but that doesn’t mean it’s easy http://www.publishingtrainingcentre.co.uk/blogs/item/digital-publishing-is-now-fabric-but-that-doesn-t-mean-it-s-easy
  3. Shortcuts in editing (are they allowed?) http://cmosshoptalk.com/2016/06/07/shortcuts-in-editing-are-they-allowed/
  4. How well do you know football terminology? http://blog.oxforddictionaries.com/2016/06/football-terminology/
  5. How to work with publishers: 8 tips for freelancers https://bookmachine.org/2016/06/21/how-to-work-with-publishers-8-tips-for-freelancers/
  6. How to combine freelancing with teenagers. A (not) definitive guide http://workyourwords.co.uk/copywriter-blog/entry/how-to-combine-freelancing-with-teenagers-a-not-definitive-guide
  7. Stop. Using. Periods. Period. https://www.washingtonpost.com/news/wonk/wp/2016/06/13/stop-using-periods-period-2/?tid=sm_tw
  8. What makes a bestseller? https://bookmachine.org/2016/06/09/what-makes-a-bestseller/
  9. But it’s nothing like the book! Why film adaptations rarely stay faithful http://www.independent.co.uk/arts-entertainment/films/but-its-nothing-like-the-book-why-film-adaptations-rarely-stay-faithful-a7058271.html
  10. Could a movie about editing possibly be, well, genius? http://www.signature-reads.com/2016/06/could-a-movie-about-editing-possibly-be-well-genius/?platform=hootsuite

Posted by Tracey Roberts, SfEP blog coordinator

The views expressed here do not necessarily reflect those of the SfEP

Pricing editorial work – SfEP conference session preview

By Liz Jones

Booking for our 2016 conference, ‘Let’s Talk About Text’, closes on Friday 8 July. At the time of writing there are only a handful of non-resident places left, so if you don’t want to miss out, book now!

I’ve been invited to present in a ‘Speed start-up: what newbies need to know’ session at the SfEP conference in September on the subject of pricing work, alongside Sue Littleford (Numbers for word people) and Louise Harnby (Banishing the marketing heebie-jeebies). Here’s a taster of my section of the session.

pound resized
Pricing editorial work comes up time and again in discussion between editors. In the session I’m going to look at the basic process of quoting for work, which can be applied across a range of situations. The same principles can also be used to work out if a fixed fee offered by a client is fair.

  1. Assess the information provided about the work

The client should provide you with the project parameters, including extent or word count, schedule, level of editing required, and so on. They might suggest a price, or they might ask you to quote.

  1. Ask for more information if you need it

You can’t accurately price work without adequate information and a sample of the text. If the client will not provide the information you need to price the work, proceed with caution!

  1. Work out what your work is worth

To work out a price for the work, you can take the hourly rate you need/want to earn, multiply it by the length of time you estimate the job will take, and add on contingency to arrive at a total fee. Alternatively you can quote what you think the work is worth to the client. Other factors can influence the figure, such as the particular market, or the time frame allowed for the work.

  1. Use data from previous projects/colleagues to help you

To enable you to estimate how long a job will take, it is essential to keep records of work you do. If you are asked to quote for work unlike anything you have done, you can ask colleagues for advice – for example, in the SfEP forums.

  1. Prepare a quote, making clear what it covers

When you provide a price, you should also indicate what this price includes. For many publishers, this will be fairly straightforward, as they are likely to be commissioning you for a commonly understood part of the process such as copy-editing or proofreading. For a non-publisher, you will need to ensure they know precisely what they are getting for their money, and importantly what is not included.

  1. Prepare to negotiate

If your client suggests a price, don’t be afraid to ask for more if you think the work warrants it; equally, if you suggest a price, be prepared for the client trying to negotiate down.

  1. Agree terms with the client, and start work

Make sure you have the agreed price and the scope of work in writing before you start work. If anything changes that might affect the price, raise this with your client as soon as possible.

In the session I’ll be looking in more detail at each of the stages – with particular focus on working out what the job is worth – and taking questions. There will also be a handout with further information and links to resources to help you at each stage of the process.

Sue, Louise and I will be presenting on Monday, 12 September 2016, between 1.30 and 2.30 p.m. I hope to see you there!

Liz Jones Liz Jones has been an editor since 1998, and full-time freelance since 2008; she is an Advanced Professional Member of the SfEP. She specialises in trade non-fiction, fiction and educational publishing, but also works with a range of business clients and individuals. When not editing she writes fiction, and also blogs about editing and freelancing at Eat Sleep Edit Repeat.

 

Posted by Tracey Roberts, SfEP blog coordinator

The views expressed here do not necessarily reflect those of the SfEP

Numbers for word people – SfEP conference session preview

By Sue Littleford

The speed start-up session at the 2016 conference (on Monday 12th at 1:30) will begin with a segment on finance (followed by Liz Jones on pricing and Louise Harnby on marketing – it’s going to be a busy hour!). Editors and proofreaders are by nature word people, so many of us can find it hard to get to grips with the money end of running our businesses. But you’re not just a proofreader or an editor, you’re a business owner, too, so you do need to understand what your statutory obligations are (keeping records, including the right information on your invoices, making a timely and accurate tax return and paying your tax and national insurance by the deadline). HMRC puts a huge amount of effort into making it easy for you to get your tax return right, and all the things that revolve around it, like understanding what business expenses are allowable (i.e. what expenditure you can offset against your profits to reduce your tax bill) and what aren’t.

ledger

Access HMRC’s live and recorded webinars and the business email support system. And watch helpful videos on their YouTube channel.

You also need to know how to budget for the things you need to buy (equipment, reference materials, memberships) and money you need to spend (tax and national insurance, plus perhaps pension contributions), and how much you need to put by to tide you over times of not working, whether for planned holidays, periods of illness, or those times when work just won’t land in your inbox no matter what you do.

Understand the importance of cash flow – more businesses have come unstuck because of a lack of ready cash to cover their commitments than from a lack of overall profitability – and translate that understanding into actions for invoicing promptly and chasing overdue invoices.

I see a lot of comments from people in editors’ groups right across social media saying that invoicing and requiring payment on time makes them cringe – they feel pushy and mercenary. Well, the only thing I can say to that is – don’t! You’re a business owner, not a doormat. Contracts have two halves – what you’ll do and what you’ll be paid for doing it. You did your bit, so now it’s time for your client to fulfil their part of the contract.

Sadly, but unsurprisingly, clients usually have their focus elsewhere than on your finances, so you need to be the one to remind them, and to remind them again, if need be. Keep it polite, keep it businesslike and don’t apologise. But just in case, be aware that you have rights to claim interest and penalties on late payments from clients who are also businesses.

As there’s such a lot to get through, there’ll be a handout bursting with links to plenty more detailed information. There’ll be time for a few questions, too. To get you started, a huge amount of information on running the financial end of a business can be found at www.gov.uk. Start with the two options Business and self-employed and Money and tax.

Plug alert!! All this, and a great deal more, is covered in my upcoming new SfEP guide Going Solo – Creating Your Freelance Editing Business.

Sue Littleford Sue Littleford, an Advanced Professional Member of the SfEP, was a career civil servant, before being forcibly outsourced, and spent 14 years as payroll manager for what is now the Ministry of Justice. Then she changed tack altogether and has now been a freelance copy-editor since 2007, working mostly on postgraduate textbooks in the humanities and social sciences, plus the occasional horseracing thriller.

Visit her website at Apt Words, follow her on Twitter @Apt_Words, or connect via Facebook or LinkedIn.

Posted by Tracey Roberts, SfEP blog coordinator.

The views expressed here do not necessarily reflect those of the SfEP

A survival guide for introverts networking at the SfEP conference

By Abi Saffrey with contributions from Julia Sandford-Cooke and Melanie Thompson

There are loads of blog posts about how to cope with attending a conference if you’re an introvert – just search for ‘introvert conference’ and you’ll find lots of bedtime reading.

We’ve had a look through some of those blog posts, relived our own introvert experiences and racked our own brains to put together this networking guide for introverts: surviving the SfEP conference – this year’s is fast approaching and preparation can be the key for those of us who find large work and social occasions a somewhat overwhelming prospect.

challenge

What’s an introvert?

It’s a characteristic/personality label that some people adopt.

  • One description doesn’t fit all.
  • The common contemporary definition is someone who gets energy from within rather than from other people.
  • It does not equate to shyness, though some introverts are also shy.

Extroverts can find conferences overwhelming too – they’re intense events. Meeting new people and having to make conversation with strangers can be intimidating for anyone.

Who’s an introvert?

Somewhere between a third and a half of the general population. Probably more than that among editors and proofreaders, particularly those of us who have opted for the freelance lifestyle.

Why would an introvert want to go to the SfEP conference?

For the same reasons as extroverts – to learn new skills, to be inspired, to hear about the latest developments in publishing and, yes, to meet other editors and proofreaders. Where else can you laugh with someone who understands about having to remove double spaces after full stops after the revisions have come back from the author for the third time?

Things to do before the conference

  • Think about what you want to get from the conference – and how you’re going to get it.
  • See who else is attending and if there are one, two, three people in particular you’d like to talk to, or at least make an initial connection with. Perhaps you’ve read their blog or been helped by their advice on the SfEP forums. Maybe you’ve seen their pithy comments on Facebook editorial discussions and just think you’d get on with them.
  • Pre-break the ice. Make contact with those people in advance – the groundwork can be done in a thought-out email rather than having to do a big face-to-face introduction.
  • Research the speakers and their topics to give you conversation starters.
  • Prepare some opening lines or questions [For example: Favourite part so far? Which bit are you most looking forward to? Which sessions are you going to today/tomorrow? What brings you here? Will you come again? What’s your favourite aspect of your work? Are you hoping to learn something in particular while you’re here?]
  • Think about how you may answer those questions.
  • Watch Susan Cain’s TED Talk about the power of introverts.
  • Look at the schedule – where are you going to slot in the wind-down time? Are there sessions you may be able to miss if you need a break?
  • Think about what kind of things will make the conference more stressful. Sharing a taxi with strangers? Not knowing anyone on your table at dinnertime? Do what preparation you can to lessen those stresses – make contacts, budget for a taxi on your own.
  • Take things with you that help you feel comfortable – fluffy slippers, a new notebook, a photo of your dog, something that reminds you of home or another happy place.
  • Stick to your normal morning routine, as much as you can. Bring your own teabags or coffee, or whatever you need for you to start the day in the normal way.

Things to do during the conference

The main thing is to make the conference work for you.

  • Before walking into a social situation or a session, stand tall, roll your shoulders back and take a deep breath (or several) – do the power pose.
  • Make time for breaks – in whatever form recharges you. Sit in the sun, read a book, go for a walk.
  • Use your downtime to consolidate what you have learnt so far and plan for what’s coming next. Or just stare at a wall.
  • It’s okay to go off on your own, or to stare at a wall.
  • Be who you are – there is no ideal conference attendee mould that you have to fit into.
  • It’s okay to be a quiet participant. Listen. Say only as much as you are comfortable saying. There is no minimum or maximum contribution.
  • Recharge during a session (not necessarily dozing off…). Arrive just before a session is about to start, don’t sit too close to the front, Tweet.
  • Ask someone you know to introduce you to someone else.
  • Preserve your energy for when you need it most – some sessions are more important than others.
  • If you’ve had enough, miss a session. You can always track down the speaker’s notes or slides later, or (gasp) ask another attendee about the main points covered.
  • Use your skills to your advantage – listen, think, listen, ask perceptive questions, listen, ask why and listen carefully to the response.
  • Don’t talk to everyone – you don’t have to and it’ll just wear you out.
  • Don’t wear new shoes – sore feet can be really distracting.
  • Don’t fixate on what you’ve said or done afterwards. You might be mortified that you got that person’s name wrong or forgot you’d met before, but they probably took it in their stride. They might even be worrying about having done the same thing.

Things to do after the conference

  • Schedule some downtime in the following week.
  • Plan some time to go through your notes and decide on some action points (not just for introverts).
  • Make plans to go again next year – each time you’ll know more people, you’ll know the way things work, you’ll be a bit more comfortable.
  • Get in touch with anyone you wanted to talk to at the conference but didn’t have time to.

Let us know if you have any other good tips for surviving ‘big events’.

Abi Saffrey, Julia Sandford-Cooke and Melanie Thompson are all introverts and will be at this year’s SfEP conference. Don’t be offended if they want to be alone.

Abi SaffreyAbi Saffrey is an advanced professional member of the SfEP. She specialises in copy-editing and proofreading economics and social policy content, and anything within the wider social sciences realm. Abi is a social introvert with two young children, and slight addictions to bootcamps and tea.

 

Blog posts I visited while writing this post

How introverts can make the most of conferences

How to survive big conferences as an introvert

An introverts guide to getting the most from a conference

Six ways introverts can avoid feeling shy at conferences

Should introverts go to conferences?

The introvert’s guide to surviving an in-person conference

An introvert’s guide to conference networking

Introverts: how to make friends and network at conferences

The views expressed here do not necessarily reflect those of the SfEP

The hidden art of editing – the 2016 Whitcombe lecture

By Susan Greenberg

When I was first invited to give the keynote Whitcombe lecture at this year’s SfEP conference, they told me about the theme for this year – ‘Let’s talk about text’ – and explained: ‘Our members’ work is very varied, but we are all in the business of improving text.’

I feel a deep affinity with this approach. I have spent the greater part of my life thinking about what it means to improve texts; first as a practitioner, then as an academic.

When I started a PhD to go with this new career, about 10 years ago, I wanted to choose a subject that connected these two different lives. And I chose editing in particular because – like other behind-the-scenes work – it is mostly invisible; a hidden art. It would be interesting to bring it more fully into view.

Right from the start, my instinct was to look at the subject in the round. The analysis had to be comparative; it had to take the long view, and it had to include the insights of practitioners. The comparative aspect is crucial, because we already know how the different kinds of editorial work are different; why not ask how they might be similar?

Z_EditorsCoverSo far, one book has already come out of this research, and work on a second is advanced. In the first book, a set of interviews, we get to hear conversations on a human level about what people do when they are editing and what they think about it. This does three main things:

  1. It teases out the shared concerns of different kinds of editors.
  2. It gives a rough shape of a possible ‘best practice’.
  3. It underlines the extent to which good communication is hard; and so the extent to which people need help.

The second book is based on the idea that to bring this invisible practice into full view, we need not just description and definition, but also a really good theory.

We think of ‘theory’ as something high-minded and abstract, but it can and does affect everyday life. Compared to other cultural practices, publishing is very under-theorised. And this can end up undermining its value or status. The reason is that people need a framework in which they can fit random discoveries; otherwise the things they encounter are not fully noticed or remembered.

So, one needs a theory, but the type of theory makes a difference to visibility as well. Until now, the theorisation of editing often comes under the heading of ‘social constructivism’ and often uses the language of ‘gatekeeping’. This is a useful metaphor, but it can struggle to fit all sizes. And it sometimes makes too many assumptions about its subject. The assumption in the case of editing is usually that the ‘gatekeeper’ is always bad, and is always found only in whatever part of the media that the researcher does not like.

That is why I feel there is a need to define principles for textual work that make more allowances for the messiness of human practice.

Dr Susan Greenberg

Dr Susan Greenberg

Dr Susan L. Greenberg is Senior Lecturer in Creative Writing at the University of Roehampton [1], following a long career as journalist and editor. She teaches and offers doctoral supervision in her specialist areas of narrative nonfiction, and publishing. Susan is also the Publisher of the department’s in-house imprint, Fincham Press [2]. Publications include Editors talk about editing: insights for readers, writers and publishers (Peter Lang, 2015) [3]. Visit her blog at Oddfish [4] or follow her on Twitter at @sgediting. [5]

Banishing the marketing heebie-jeebies – conference session preview

By Louise Harnby

If you’re a new entrant to the field of editorial freelancing, and you’re attending this year’s SfEP conference in Aston, I hope you’ll join me and my co-presenters Liz Jones and Sue Littleford at our speed start-up session: Things newbies need to know. Together, we’ll be rattling through some top tips to help you with three pillars of editorial business building: finance, pricing editorial work, and marketing. I’ll be handling the marketing section.

banish doubtI know that business promotion gives many newbies the heebie-jeebies, and so, with that in mind, I’ve based the presentation around the questions that I’ve been asked most frequently by anxious marketers-to-be. In this way, I hope the session will be as much about what I think you should know as what you think you want to know!

I want the session to be as accessible as possible, so I’m throwing in a couple of promises, too – there’ll be no marketing jargon and you needn’t have any prior experience of business promotion whatsoever. It’ll just be me talking to you – one editorial freelancer to another. If you hear me utter words such as ‘utility’, ‘drill down’, ‘marginal’ or ‘basis of segmentation’, you have permission to throw things at me!

So what are those frequently asked questions?

  • What is marketing? I don’t have a clue where to start!
  • What do I say? How do I structure my marketing message?
  • What promotional tools or activities work best?
  • How do I get noticed and stand out from the crowd?
  • Should I promote myself as a generalist or a specialist?
  • How do I combat my marketing nerves?

Using those questions as my guide, I’ll provide you with one definition and five frameworks to banish those heebie-jeebies and provide you with a structured way of developing your editorial marketing strategy with confidence and even, I hope, a little excitement.

There’ll be a handout, too, that includes a summary of what’s been discussed and a list of useful additional resources to help you on your editorial marketing journey, including the latest combined edition of my business books, Omnibus: Editorial Business Planning & Marketing Plus (all conference attendees will be entitled to a one-off 20% discount voucher for use against a purchase of the PDF).

Liz, Sue and I will be presenting on Monday, 12 September 2016, between 1.30 and 2.30 p.m. We look forward to seeing you there. [There are a limited number of conference places left if you haven’t booked yet, but do it soon!]

Louise HarnbyBased in the heart of the Norfolk Broads, Louise Harnby is a professional proofreader with 24 years’ publishing experience. An Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), she specializes in providing proofreading solutions for clients working in the social sciences, humanities, fiction and commercial non-fiction. Her customers include publishers, project management agencies, professional institutions and independent writers. Louise is the curator of The Proofreader’s Parlour and the author of Business Planning for Editorial Freelancers, Marketing Your Editing & Proofreading Business, and Omnibus: Editorial Business Planning & Marketing Plus.

Visit her business website at Louise Harnby | Proofreader, follow her on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

The views expressed here do not necessarily reflect those of the SfEP

Support from the SfEP for newbie proofreaders and editors

By Tracey Roberts

After gaining employment as an editorial assistant I investigated options for training and career development, and my research immediately led me to the SfEP. I was impressed by the range of training opportunities and advice available, and applied for membership straight away. I have benefited from the advice provided on the website (especially the forum and blog), and wanted to contribute something myself. But as I’m just starting out in my new career I have little editorial experience to share and I can be best described as a ‘newbie’.

newbie

The Cambridge English Dictionary defines a newbie as someone who has just started doing an activity, a job etc.

Starting a new career can be daunting. But being a newbie should be viewed positively as an opportunity to learn something new, and I have learnt so much during my first year of SfEP membership. I have completed the ’Proofreading 1’ and ‘Copy-editing 1’ courses via distance learning, and I would highly recommend them as a starting point for anyone considering a career in editing or proofreading. I’m currently studying ‘Proofreading 2: Progress’, where your work is assessed by your tutor (an unnerving prospect for this newbie). Signing up for the mentoring programme will be equally daunting. But progress requires constructive feedback and I am looking forward to what I will learn from these courses and what new opportunities they may bring.

I am also grateful for the networking opportunities that membership has provided, and I have benefited greatly from the knowledge and experience that has been shared by other members. A number of networking opportunities are available and, regardless of your circumstances, newbies can find a convenient way to meet other members. The SfEP has pages on LinkedIn, Facebook and Twitter, and those keen to meet in person can also join a local group (a Skype group is available for international members). I attended my first meeting with the East Midlands group, where experienced members shared valuable advice and made me feel very welcome. New members are also encouraged to attend the annual conference, although I appreciate that this can be a daunting prospect when you don’t know anyone yet (see recent blogs by Karen and Katherine).

To aid my professional development I applied for the position of SfEP blog coordinator and was thrilled when I was offered the role. We have a number of great blog pieces written by experienced editors which will be published over the coming months, and we would love to hear from anyone else who would like to write for us. The blog covers any topics relevant to editors including freelance business advice, editing tips, guidance on using new software, sharing insight into your specialist area and anything else you think may be of interest to members. See 10 tips for your first proofreading job by John Espirian which will be of interest to new members.

I would also like to invite other newbies to write for the blog and share their experiences as they progress in their new career. No one ever said that starting a new career would be easy, but training and sound advice goes a long way to making this experience easier. This is what membership of the SfEP provides. As the new blog coordinator I look forward to sharing the thoughts and experiences of other members, both long-standing and new.

If you are interested in writing for the blog or have any feedback please get in touch blog@sfep.org.uk.

Image shared via Creative Commons:
Anne https://www.flickr.com/photos/ilike/4942572797/in/photostream/

Tracey
Tracey Roberts recently graduated with an MSc in Neuroscience and is an Entry-Level member of the SfEP. She currently works as editorial assistant for the Cochrane Schizophrenia Group based in Nottingham and is the SfEP blog coordinator.
Twitter: @traceystweets01

The views expressed here do not necessarily reflect those of the SfEP.