Category Archives: Getting started

Making time for marketing and CPD

One of those age-old questions for freelance editors and proofreaders is how to find time for marketing and continuing professional development (CPD) when other work keeps getting in the way. In this post, Philippa Lewis brings together some approaches that have helped her and other CIEP members.

When I started freelancing, I had no idea how much extra work would be involved on top of actual editing work. Words are my love and joy, and I’m more than happy to spend hours deliberating over every tiny aspect of punctuation, but I found myself completely unprepared for how much time marketing and CPD would take up.

Marketing in particular has been a challenge for me; I find the thought of promoting myself very uncomfortable, and marketing takes up time which I could be spending editing. And I would much, much rather be editing. It’s easy to convince myself that marketing is a waste of time when I could be spending that time completing paid work instead, so most of my attempts at marketing have been squeezed in out of slight desperation when I haven’t had any work booked in.

At the recent CIEP conference, Kia Thomas did an excellent talk about marketing. I really appreciated how matter-of-fact she was about it: as a freelancer, you have no choice but to market your business, so you might as well get on with it. Whether or not you enjoy doing marketing isn’t really relevant, because you still have to do it.

This was a bit of a wake-up call for me, and since then I’ve tried to come up with a system for regularly building marketing and CPD into my working week.

Find what works for you

Editors often talk about setting aside one morning or day a week for CPD and marketing. Having a specific slot for these tasks sounds like an excellent approach, but I always find that when I reach the time I’ve set aside, my latest editing deadline inevitably feels like a higher priority.

I’ve finally realised that a more flexible approach works better for me. I start my week by identifying the CPD and marketing tasks that I want to accomplish. These get written on a post-it and stuck onto my computer monitor; keeping them visible means I can’t forget to do them. I try to identify a mix of quick jobs (like sending a CV to a publisher) and longer ones (like drafting a blog post) for each week. I try to break tasks into smaller units where needed: ‘check pricing page on website’ feels more manageable than ‘re-do website’.

These tasks then got slotted in throughout the week. I find it useful to do them whenever I need a break from editing – often at the end of a work day, or before lunch. I might not have the mental capacity to edit another paragraph, but I can still manage to do a marketing task or read a blog post. Cycling through tasks like this means I’m more productive, as I’m ticking something off my list despite not feeling up to completing work for a client.

At the moment, this approach is working really well and allowing me to consistently complete CPD and marketing goals. But it’s freeing to remember that this might not be a strategy that works for me long term – I’ve found it really helpful to keep an open mind rather than trying to stick to a set routine that doesn’t feel like it’s working any more. We all work in different ways; don’t be afraid to try different approaches until you find a method that works for you.

Prioritise

Marketing and CPD both sometimes feel overwhelming: the list of things I could be doing can feel endless, and when the list is so long, sometimes it’s difficult to get started on working through it.

I’ve now got a list of CPD and marketing tasks that I want to complete, with the more pressing ones near the top, and I use this list to help me identify my tasks for each week.

CIEP member Eleanor Bolton has found it helpful to think about her long-term goals, then select CPD options that relate to this. She says ‘I had quite a long list of courses that all sounded interesting and potentially useful, but there was no way I could fit them all in. Over the summer I spent some time thinking about who my preferred clients were and ended up niching quite considerably. As a result, quite a few of those courses were no longer relevant.’

Be flexible

I’m currently doing a developmental editing course, and it wouldn’t be possible to complete the assignments for this in short bursts of time, or at the end of a day when I’m already tired. Likewise, if I’ve got a complex edit booked in, sometimes setting aside a chunk of time for CPD and marketing is more effective than trying to slot in extra tasks each day. On a different week with a different workload, a different approach might work better. It’s important to stay flexible, and to work with whatever your current circumstances are.

Anything is better than nothing

I’m aware that I could improve my editing speed if I improved my knowledge of using Word. I don’t have time to do a full course on it at the moment, so instead I’ve bought a book on the subject and I’m taking ten minutes every couple of days to work through a few pages. I’m not learning as much (or as quickly) as I would on a course, but I’m still learning something. Each tip I pick up is improving my editing speed.

Maybe you don’t have time to do a course at the moment, but could you listen to a podcast while doing the washing up or when you’re in the car? Again, this comes down to taking a step back and being willing to be flexible: what would be achievable with how your working week looks right now?

I regularly have to remind myself that anything is better than nothing. It’s really easy to get caught up in thinking all your marketing materials have to be perfect, which can lead to never finishing anything – but an imperfect website will reach more clients than a non-existent one.

Get something finished and sent off or published, even if you’re not completely happy with it: send a CV out to publishers even if you’re still completing a training course that you wanted to add to it; publish that blog post even though you’re not completely happy with one paragraph in it.

Reflect

And finally, set a moment aside to think about whether your current approach is working for you.

CIEP member Anna Baildon finds monthly reflections helpful to keep her CPD and marketing on track: ‘Each month I think about what’s gone well, what’s been more challenging and what I’ve learned. A brief look through my diary and my Trello board is usually enough to prompt my thoughts and form some analysis. It’s surprising how much insight this simple task provides. It’s like having a monthly meeting with my boss to bring clarity and focus to my work.’

There’s no ‘right’ way to tackle CPD and marketing; it’s just about finding an approach that works for you, sticking to it when you’re able to, and taking small but consistent steps forward.

About Philippa LewisHeadshot of Philippa Lewis

Philippa Lewis is a freelance developmental editor, copyeditor and proofreader. She works on a mix of speculative fiction and outdoors literature, and lives in North Wales.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: unfocused lights and coffee both by Pixabay on Pexels.

Posted by Harriet Power, CIEP information commissioning editor.

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

Forum matters: Creating and editing web content

This feature comes from the band of CIEP members who serve as forum moderators. You will only be able to access links to the posts if you’re a forum user and logged in. Find out how to register.

Posts on this topic that are more than a year old might be of only historical interest, given how fast technology changes. The threads referred to in this article have been selected because they link pretty directly to work on websites, but don’t forget that issues of accessibility also apply to (or can be found in relation to) other media, such as PDFs.

Your own website

Although many editors and proofreaders rely on social media to network and expand their business, there is no doubt that having your own website helps establish your professionalism and is a good place for information about you that may get lost on Facebook and Instagram, or when LinkedIn and Twitter revamp their algorithms, or a newcomer takes people up another highway. One member’s request, Advice needed: moving from self-publishing to traditional fiction editing, ranged far and wide and pointed to just that conclusion.

Even if you’ve embraced the idea of developing a website it can be a slog, and a quick reach-out via the forums has kept members on track (‘How best to prioritise?’). After deciding to use a website design company, forum members have asked for recommendations, in threads entitled ‘website’ and ‘Web hosting and domain registrars’. Even that tricky sub-subject of emails has been covered in Email hosting recommendations.

Many CIEP members create and manage their own websites and have shared hard-earned advice on sites and specifics. You may already have chosen a provider, but if you are thinking of managing your own website then maybe you should have a look first at: Squarespace help; Creating a website then Websites again; Portfolio on WordPress website and New member & request for advice.

Members have asked each other for a quick review of their new or revamped websites (see Quid (I proofread your website) pro quo (you proofread mine) and quick website check) and for help on specifics such as T&Cs and Domain Name Extensions, or about the principles of Pricing and its absence on editor websites and the Use of first-person in freelance websites. The number of replies does vary, and sometimes the first one nails the answer, while at other times the discussion ranges so far you feel you’ve attended a mini-course in the subject – see Struggling to be competitive.

There are some topics that apply to more than websites but will certainly add a professional gloss, such as a source to spruce up the background of your profile pic in Useful website to create/edit profile pics or useful advice on accessibility in Text colours and backgrounds – best and worst for legibility? and Q about hyperlinks in Forum signature.

Laptop and notebook

Working on other websites

You don’t have to have created a website to be able to work on one (although it does help), but it is worth doing some training on the subject. CIEP offers two specific courses: Editing Digital Content and Web editing. But the forums are also up there when it comes to learning. We’ve all had an itch when we’ve spotted some bad practice and asked ourselves, should I say something? Read the thread and then decide.

You’d think a business would see editing their website as a no-brainer, but sometimes getting at the content can be tricky. Copyediting of websites and general advice on editing a website offer some useful insights and links.

SEO and accessibility are two aspects that you really need to get to grips with if you are going to offer a good service to website clients, and the forums are full of good advice on: best font/typeface for emails; quote marks and other punctuation for easy reading and accessibility; Rewording a bullet list for a website; Should numbers be spelled out in Websites?; Providing hyperlinks: best practice?

Good luck with your own and other websites. And don’t hold back on developing your skills and sharing your experiences through the CIEP forums.

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credit: laptops by Louise Viallesoubranne, notebook and laptop by Marissa Grootes, both on Unsplash.

Posted by Harriet Power, CIEP information commissioning editor.

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

Definite articles: Working with websites

Welcome to ‘Definite articles’, a column devoted to the CIEP’s top internet picks, most of which are definitely articles. This time, our theme is working with websites – for clients and for yourself. The CIEP has recently published its own articles on working in digital formats, in ‘Flying solo: Focusing your website on your ideal client’, and ‘Talking tech: Web editors – WYSIWIG or code?’ If you’re a CIEP forum user, you can access our website-related forum wisdom in ‘Forum matters: Creating and editing web content’.

In this issue:

  • Client websites: Learn from the experts
  • Planning and creating your own website
  • Refreshing your site
  • Other platforms
  • If it all goes wrong

Client websites: Learn from the experts

Marketing tips

Websites act as shop windows. So when you’re editing what is essentially marketing copy, it’s worth learning from people who know about marketing. Copywriter Karri Stover, in ‘11 steps to effective website copywriting’, reminds us of the importance of plain language, understanding the reader, including essential information, and readability. On that last point, Stover links to a useful 2013 article by Carrie Cousins at Design Shack, ‘The importance of designing for readability’, which talks about design elements, from subheads (which should be simple, direct and frequent) to how hyphens can break readers’ concentration.

Understanding accessibility and SEO

If you’re working with websites, you should always have at least one tab open at the World Wide Web Consortium (W3C) Web Accessibility Initiative (WAI). This advises on web accessibility and is recommended as a resource on the CIEP’s Editing Digital Content course. Get started with ‘Easy checks – a first review of web accessibility’ and ‘Introduction to web accessibility’.

It’s also essential to have an understanding of SEO (search engine optimisation). Michelle Bourbonniere gives a useful overview of what it is and how to do it. Marieke van de Rakt of Yoast has also written a long blog about the importance of content in SEO. Trickery with links is long gone as a way to improve rankings. These days, SEO is firmly about quality content, as Marieke testifies.

Planning and creating your own website

Every website needs to be planned, and Malini Devadas’s podcast episode ‘How to create a client-focused business’ is a good start in working out how the elements of your offering, including your website, fit together. John Espirian adds to this by taking the long view with a 30-month mindset.

Whether you create your own website or outsource that process is a big decision. A blog by Startups explores the options. If you’re keen on doing it yourself, John Espirian discusses setting up your own website in an article from the archives that includes plenty of useful tips and links. However, as Michelle Waltzman suggests in ‘Stressed about your to-do list? 5 times you should outsource tasks’, if you keep putting it off, you don’t know where to start, or you’ve tried it and it’s gone very wrong, it might be worth considering asking someone else to help you.

Even if you outsource the creation of your website, you’ll have to write it. Apply the same marketing, accessibility and SEO principles that we covered in the ‘Client websites’ section above. You might also commission some photography. Sophie Playle describes how she did this in ‘Branding my editorial business: Working with a photographer’. If you’re working with images that are already created, take a look at Chicago Shop Talk’s article ‘Crediting images at an author website’ for principles and tips.

Once you’ve covered the broad brushwork of development, content and images, make sure the little things also look great, including any URLs.

Refreshing your site

If you created your website some time ago, it’s important to interrogate it every so often to ensure it’s working as hard as it can. Luckily, if we forget, ACES, the society for editing in America, keeps us on our toes with articles like ‘Is your website referral-worthy?’ by Molly McCowan and ‘When was the last time you updated your website?’ by Nate Hoffelder. Nate also wrote the helpful ‘18 questions to ask when refreshing your editor website’. If 18 questions are too many, Annie Deakins suggests six website features you should check.

One editor, Letitia Henville, recently went beyond checking and fixing to supplementing her current site with a digital tool for academics, which received 4,000 views in its first three days. Not everyone has the time or resources to do this, but Letitia includes a list of less ambitious alternatives: ‘blog post, webinar, infographic, video, app, tin-can phone or whatever other medium may reach your client population’. As tempting as the tin-can phone is, many editors find that their digital resource of choice is the humble blog, and if yours is ailing Louise Harnby has four ideas to fix it. Recently on Twitter, Lynne Murphy (@lynneguist) recommended a piece about how to keep online readers engaged in long articles. If your blogs are on the lengthy side, take a look.

Other platforms

Don’t forget Twitter, LinkedIn, Instagram, TikTok and Facebook as part of a digital content strategy. You can see Instagram at its best in ‘The 15 most Instagrammed bookstores in the world’. TikTok has recently been credited with changing the publishing industry as high-profile book lovers share their favourite reads with users. But if all these options make you feel dizzy, Mel Edits has some sage words about timelessness in ‘5 rules of content that will never change’.

If it all goes wrong

Finally, Chicago Shop Talk has helpfully published an article on how to ‘take back’ an online error that could be useful if you’re working with websites or on other digital platforms. One advantage of the internet is that amendment can be instant. In certain circumstances, though, amendments have to be acknowledged and explained, for example if a vital word like ‘not’ has been omitted in a prominent place in the original text, giving entirely the wrong impression and alarming people.

We’ll leave you to think up your own examples.

Thank you for reading. Why not follow the CIEP on Facebook, Twitter and LinkedIn for more useful content for editors and proofreaders?

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: header by Sigmund, person with mobile phone by by Jonas Leupe, both on Unsplash

Posted by Harriet Power, CIEP information commissioning editor.

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

Core business documentation for freelance proofreaders and editors

In this post, Hazel Bird takes a look at the documentation that can help freelance proofreaders and editors to keep on top of the business side of things – from scheduling and accounting to thinking about CPD and business strategy.

Your style sheets are slicker than a greased exclamation mark and your handover notes template is perfectly balanced between conciseness and comprehensiveness. Your macros are practically doing the editing for you (well, not quite …) and you have shortcuts set up with author queries to handle just about anything a client can throw at you.

In other words, you’ve got this editing thing down pretty well. But what about your wider business? What strategic and administrative documentation have you set up and how well is it working for you? Does it enable you to understand what’s going on in your business now, what happened in the past and how to achieve your future goals?

This post looks at some of the core non-editorial documentation you might want to consider setting up. The list is based on the lessons I’ve learned over 13 years as a full-time freelancer – simply put, this is a list of the documentation I wish I’d established and used from the get-go.

It’s important to note from the start that these ‘documents’ don’t necessarily have to be separate – it’s perfectly OK to address two, three or more of the functions below in a single document if that’s what works best for you.

1 Scheduling and workload

Let’s start with the absolute basics. You’ll need somewhere to write down all the work you have booked in, any prospective work beyond that, and all the key dates. You might also want to estimate how many hours each block of work will take you. From this basic information, you can then plan long term (so you know when you’re free for additional work) and short term (so you can see in detail how you’ll meet your immediate commitments).

There are endless options for scheduling, from a humble spreadsheet (such as Google Sheets) to project management software (such as Trello) to business management tools (such as 17hats). I record my schedules and key tasks in a database and then pull the information out into a spreadsheet that shows me week by week, in a highly visual way, how much work I have booked in over the next year (long-term planning). I also use this data to draw up a handwritten plan every two weeks showing exactly when I will complete what I’ve got coming up (short-term planning).

This is a simplified mock-up of one of my two-week plans. On the left is a list of all the projects that will have some sort of activity over the next two weeks. Brackets signal projects that are in the background and very unlikely to require active work; ticks mean I have inputted all work for the project into the grid on the right. In the grid, the circled numbers are days of the week and an exclamation mark means I have holiday or some other potentially disrupting commitment on that day. Non-paid work and general admin are not scheduled as my project scheduling deliberately leaves time free for those tasks over the course of the week. I do, however, note down specific events, such as the client calls and webinar. ‘X’ is an important one – it means ‘answer emails and do any other bits and pieces that need to be done today’. As I complete projects and work, I cross them off (the cross-outs in this mock-up are as if I were halfway through day 2 of week 1).

2 Word counts, fees and time

This is where you get into the nitty-gritty of your day-to-day work. How quickly can you edit? Does it vary by client, type of work or subject matter? Are you happy that the amount you’re being paid fairly compensates you for the amount of work you’re putting in? Can you make a reasonable estimate of how long a potential project might take?

Recording word counts, fees and the time you take will enable you to answer these questions and many more. The answers will feed into your reporting (see below) and also help you to control your workload (and hence take care of your mental wellbeing).

Whatever system you choose for your scheduling will likely have the ability to record these details, or you might want to set up a specific spreadsheet for this purpose (or, if you’re a CIEP member, you can use the Going Solo toolkit ‘work record’ spreadsheet). For time tracking, some people use tools such as Toggl, which can integrate with other software.

3 Finances

You’ll need some sort of way of tracking invoices raised, whether they’ve been paid and any expenses. Obviously this should be in a format that enables you to meet the tax reporting requirements in your region. Beyond that, the level of detail and the format are up to you. You might find specialist software helpful, but a spreadsheet (perhaps with some conditional formatting to flag when an invoice is overdue) can be more than enough. You might even just add a couple more columns to your scheduling spreadsheet to record when a project has been invoiced and paid. If you’re a CIEP member in the UK, you could try the Going Solo toolkit ‘accounts’ spreadsheet.

A hard-earned tip is to actively track your cashflow too. By this I mean forecasting when you expect future payments to arrive (for all upcoming projects – not just the ones you’ve already invoiced) and your anticipated expenses (including the ‘salary’ you pay yourself). Although this can take a bit of time, it can really help your mental wellbeing as it avoids surprises. Susie Jackson has a lot of great tips on clear financial thinking for freelancers.

4 Leads, enquiries and quotes

This is all about tracking who’s contacted you and why, the outcomes, the status of any ongoing discussions (eg if you’ve sent out a quote and are waiting for feedback) and the details of any organisations you’re interested in approaching in the future.

The scale and format of this document will vary hugely from freelancer to freelancer, depending on the nature of their business and what they’re trying to achieve. You might want a complex CRM-type system that enables easy day-to-day tracking and communication with clients, or a simple spreadsheet might equally serve you very well. Just make sure your chosen tool has the capacity to record everything you’ll want to report on (see ‘Strategy and reporting’ below).

5 Marketing

I’m very much not a marketing expert, so I like to keep this as simple as possible. However, if this is an activity that you enjoy or that is particularly important to you at the moment (eg if you’re pivoting your business in a new direction), you might want to give this more space within your business. Louise Harnby’s posts are a perennial favourite in the editing community on the topic of marketing.

My major marketing activities are my website, my blog and my CIEP directory entry. For my website and directory entry, I keep an ongoing list of tweaks plus, if I’m building up to a major update, a more substantial document where I rewrite my content. For my blog, I used to have a separate spreadsheet but I now track my posts in WordPress’s native interface, which I’ve found has saved a huge amount of time.

All of my marketing activities are heavily influenced by my strategy document (see below).

6 Log of positive feedback and lessons learned

As advocated by Erin Brenner and many others, the ‘win jar’ is a hugely important morale booster, especially for freelancers who spend much of their time working in isolation. Whether you choose an actual jar, yet another spreadsheet or an A1-size poster of your greatest hits to hang on the wall, it’s wise to remind yourself of all the positive comments you’ve received. After all, if you don’t keep in mind what your clients appreciate, it’s harder to deliver on their needs.

At the same time, though, a modest log of lessons learned can be a really valuable tool. I always make sure to briefly write down when something doesn’t go to plan – for example, if I take on a project with red flags and then regret it, or if it turns out partway through a process that a client wasn’t fully clear on some aspect of my service. I then make sure to plug the gaps by taking action to avoid the same thing happening in the future – for example, by updating my checklist of ‘things to consider’ when evaluating a potential new project or by updating my quote package so future clients hopefully won’t experience the same misunderstanding in the future.

7 CPD log and planning

It can be helpful to keep a list of the continuing professional development (CPD) activities you’d like to do. Otherwise it can be easy for months or even years to slip by in which you’ve completed an awful lot of projects but not furthered (or even maintained) your skillset at all. It can be particularly helpful to use this document to plan the time and financing needed for any ‘big’ courses, such as learning a brand new skill. But it’s also good to jot down books, podcasts, websites and the like that you can use to help you keep up to date with whatever developments are relevant to your field. Again, CIEP members could use the Going Solo toolkit ‘training and CPD’ spreadsheet for this.

8 Terms and conditions

If you’re working with non-publisher clients then you’ll probably want a document you can share with them that lets them know the legal and practical implications of doing business with you. I think of my T&Cs as a document that evolves with my business and I update it at least annually.

9 Strategy and reporting

Not everyone starts their business with a fancy formal business plan. But at some point you’ll probably find it helpful to write down all those ‘what ifs’ and ‘maybe I coulds’ and ‘I think I’d like tos’ in a single place to keep track of them. The purpose of this document is to set out what you want your business to do for you and how you plan to achieve that.

Your goals can be as grand or as simple as you like. For example, you might want to write a detailed financial and marketing plan to help you completely change your client base over the next three years. Or you might prefer to keep things roughly as they are but achieve a modest hourly rate increase each year.

Where this becomes really powerful is when you pair it with reporting on how your business has performed in the past. I’ve written about how and why I write an annual report for my business here and here. Once you understand your past performance, you’re better able to set realistic future goals and make wiser decisions about what you want your business to achieve for you.

I do my strategy and reporting in Google Docs and use this information to populate to-do lists in Trello with the actions I’ve chosen to keep me on track. Your reporting data will come from all the sources above – you’ll just be viewing it in the rear-view mirror.


In choosing how to address each of the areas above, keep in mind that your documentation should be flexible, manageable and focused on outcomes rather than tracking for its own sake. It should also be capable of evolving – after all, who knows what you will want your business to be doing in five, ten or even twenty years’ time?

Resources

The Going Solo toolkit, which is free to all CIEP members, includes a collection of Excel spreadsheets that are set up to record most of the information covered in this post.

The Editor’s Affairs (TEA) is another series of Excel spreadsheets designed specifically for editors to keep track of their business data.

The short book The Paper It’s Written On: Defining your relationship with an editing client, by Karin Cather and Dick Margulis, is helpful for crafting your own T&Cs.

About Hazel Bird

Hazel Bird is a freelance editor and editorial project manager who works with businesses, charities, public sector organisations, publishers and authors around the world to deliver some of their most prestigious publications. She tries to see the detail and the big picture all at once – the wood and the trees – and has learned over the years how important good documentation is in achieving that!

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: notebook by Jessica Lewis Creative on Pexels, two-week plan by Hazel Bird, laptop and notebook by Ketut Subiyanto on Pexels.

Posted by Harriet Power, CIEP information commissioning editor.

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

How to network better

Laura Summers of BookMachine explores networking benefits, tips and more.

From small beginnings in 2010, starting as a group of colleagues coming together to talk about the book publishing industry, the BookMachine community has grown to become a global organisation. During this time I’ve met hundreds of editors and proofreaders. I remember some of them really well because they’ve stood out against the crowd by their ability to network.

Instead of simply telling me or anyone they’re networking with about themselves and leaving it at that, these professionals show their ‘interest’. They do this by asking insightful questions and aim to be the ‘interested’ person in each discussion or conversation they’re in.

Even if you’re not a networking fan, it’s one of the easiest ways to form connections that might lead to new opportunities. Thankfully, living in today’s digital world means we have online communities that make networking easier for all of us (introverts, extroverts and ambiverts!) to connect.

Not convinced that networking is for you? Here are three reasons to get started.

1.  Spread the word

If you’re a freelance editor or proofreader, networking is an essential way to let people know what you do. Having an up-to-date website is a great start, but to ensure that the right opportunities come your way, you need to connect with others and tell them specifically about what you can do for them.

Networking isn’t limited to talking with potential clients. When you network with other freelancers, along with gaining advice and friendships, you can create partnerships and offer your clients a better service. For example, if you are an editor you can partner with a copywriter to offer your clients more skills.

2.  Understand industry trends better

I read The Bookseller online daily, but there is still so much more to know about the industry. The more people you speak to and connect with, the more you understand current trends in the industry. This, in turn, gives you a deeper understanding of what’s important to your clients and their businesses.

Having more industry knowledge also gives you the added bonus of having more professional topics to talk about during meetings – whether you’re a freelancer or an in-house professional.

3.  Gain more confidence

This one is simple. The more you meet and talk to people, the easier it gets.

Convinced about networking but unsure where to begin?

Explore membership organisations

As well as using CIEP membership to connect with editors and proofreaders through virtual and in-person events and the CIEP forums, consider joining BookMachine’s vibrant community to interact and learn during mixers, virtual hangouts and in-person events. If you want to mix a bit of exercise with networking and check two things off your list at one go, you could even come for our ‘Walk & Talk’ events!

If you’re a publishing hopeful, perhaps in the early stages of your career, think about the Society of Young Publishers (SYP). Attending SYP events and conferences, signing up to be a member and applying for their mentorship programme can help you get your foot in the door and teach you how to network better. Since it’s a volunteer-run organisation, you can even get involved with their online and in-person events if you have something to offer.

Leverage social media

Whether it’s BookTok, Bookstagram or #BookTwitter, there are plenty of ways for you to find fellow publishing professionals and connect with them on social media. Following some of the most valuable and popular accounts within publishing can help keep you in the loop and give you the opportunity to join discussions, conversations and events.

When it comes to social media, don’t underestimate the power of hashtags and the ability to squeeze yourself into a conversation when possible. Try keeping an eye on (or follow) hashtags like #workinpublishing, #publishing and #joinbooks.

Five valuable publishing-related accounts to follow on Twitter: The CIEP; BookMachine; Publishers Association; The Publishing Post; BookBrunch.

Use LinkedIn wisely

When you connect with someone, send a note. Introduce yourself and include a few words about what you do and why you’re interested in connecting with them.

Twitter will cap your tweets at 280 characters, but on LinkedIn, there’s no such limit when you post. But the key is to keep your interactions short and sweet – people have limited attention spans and time when networking. The goal is to make yourself memorable and interesting within that short interaction.

Be helpful

Another useful way to stand out is to answer questions using advanced search. Both Twitter and LinkedIn have great search capabilities. Think about the questions you had when you started out. Or even questions you had two months ago. Search those questions and variations of them on these sites.

What you want is to be helpful to those in your industry and around you. Offer answers, insights, or even follow-up questions to make the discussion more interesting. Don’t worry about sharing your tips and secrets – collaborating and boosting others in your industry is an ideal way to start networking.

Step forward as a speaker

Another idea to network and simultaneously showcase your skills is to pitch yourself as a speaker or as part of a panel at any relevant event. Pitch ideas to event organisers and highlight your areas of expertise so they can introduce you and your work to a wide audience. You can find plenty of these events when you start following and interacting with publishing professionals and publishers on social media.

Have a positive attitude

Finally, networking may seem challenging but try to think about it in terms of building relationships, friendships and long-lasting connections. The more people you know and speak with, the better and easier it will be for you to find the right opportunities to help your career thrive. On a personal level, it’ll also boost confidence in your intrapersonal and interpersonal relationships.

Also, it’s easier once you get started – I promise!

About Laura Summers

Laura Summers is the Director of BookMachine, the fast-growing global Community and Creative Agency specialising in book publishing. Her mission is to provide every publishing professional with the knowledge, ideas and connections to help them to progress in their careers. Follow Laura on Twitter @LauraSummersNow. Connect with Laura on LinkedIn.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: maze by Susan Q Yin on Unsplash, networking meeting by Redmind Studio on Unsplash.

Posted by Harriet Power, CIEP information commissioning editor.

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

Making friends with macros

In this post, Ben Dare tries to persuade you that macros can be your allies and aren’t too mysterious really. Ben starting using macros very soon after becoming a CIEP member and finding out about them for the first time; he hasn’t looked back.

Macros: More familiar than you may think

A macro is a way of giving Word a job to do, to make it easier for yourself.

We all do this anyway: take a simple yet essential job like starting a new line.

There, done.

I could have used tabs to move the cursor to the next line, or even spaces! But I have little doubt that all readers of this blog know that Enter tells Word to do the job quickly. Time and faff saved.

Now, inserting a new line with Enter is not called a macro – it’s an inbuilt Word function. But in many ways, a macro is just the same, only it’s a job that’s not inbuilt. You get to choose it.

Let’s say a project has inconsistent quote marks, and we need to change the single quote marks to double. Given the possibility of quotes within quotes, and the other uses of the closing single quote mark (apostrophe), using a global change here is asking for trouble. For argument’s sake, we’ll also assume there are other things we’re looking for as we scan through the document, so we aren’t keen to do endless rounds of item-by-item find and replace. It’s going to be done as we read.

So each time we spot one, we:

  • place the cursor on the mark
  • delete it
  • type in the new mark
  • go to the second mark in the pair
  • delete it
  • type in the new mark.

That’s a fair amount of clicking and tapping. Instead we could try a macro: PunctuationToDoubleQuote (to use this or any macro, you need to add it to Word and likely give it a shortcut – and we’ll cover those steps below). Now all we need to do is:

  • make sure the cursor is somewhere before the first quote mark
  • run the macro (by typing the keyboard shortcut you’ve assigned to the macro, like Ctrl+Alt+2)
  • run it again for the second quote mark in the pair.

Every time you run the macro, the next quote mark after your cursor will automatically change from a single to a double quote mark. That’s an example of a macro that makes one change a bit easier, and there’s a macro to do it the other way round too (PunctuationToSingleQuote).

Note: this post was created using Word 2016/Windows 10. Users with other set-ups may have slight differences. Notably, Mac users will want to use ⌘ and Option instead of Ctrl and Alt. Most of the macros here work the same, but for the exceptions there is usually a Mac version available. You can often find them by reading the entry in Paul Beverley’s book, starting with the final paragraph of the general introduction.

A tool for (almost) every occasion

There are other jobs very familiar to you, which take a few clicks/taps or more, that a macro can help do quickly and accurately:

… and so many more. They are all simple jobs, but take a little bit of clicking/tapping. A macro can do it with one keystroke.

Then there are jobs that you simply might not easily be able to do without a macro or other specialist software:

  • ask Word what a particular character is, and what’s the code to reproduce/search for it (WhatChar)
  • analyse a document for inconsistencies in general approaches to numbers, spelling, language, abbreviations and more (DocAlyse)
  • get a table of hyphenations, showing possible inconsistencies (HyphenAlyse)
  • find capitalised words that are spelled slightly differently, to help check whether one of the spellings is wrong (ProperNounAlyse).

These macros don’t edit your document, but provide information about it. This helps you make consistent choices from the beginning.

There are tons of macros available but don’t be put off by the choice. Try one. And when using one becomes natural, another can easily be added, and another – the time saved adds up.

How to get one and use it

A beginner will likely get macros in two main ways:

1. Use one someone else has made

A great place to start with this is CIEP member Paul Beverley’s huge, free repository that he introduces here: http://www.archivepub.co.uk/book.html. The introductory pages and ‘Favourite tools’ might help you know how to find what you’re looking for, and instructions are included. In this blog I’ve used macros from this repository.

But internet searches are also your friend. There are other macros out there to be found, although you may need to pay for some.

Once you’ve found one, it’s time to add it to Word and give it a shortcut. Let’s add PunctuationToDoubleQuote:

  • go to https://www.wordmacrotools.com/macros/P/PunctuationToDoubleQuote.txt
  • select the whole text – a macro always needs its ‘Sub’ top line and its final ‘End Sub’ – and Ctrl+C (or copy it)
  • in Word, either press Alt+F8 or go to the View tab and click the Macros button to bring up the Macros menu window
  • in ‘Macro name:’ type in ‘temp’ (as because you’re using a ready-made macro, you’ll be changing this)
  • click ‘Create’
  • you’re now in the macro library
  • select the as-yet empty ‘temp’ macro, from the first ‘Sub’ to ‘End Sub’
  • Ctrl+V to paste in the full copied macro
  • Ctrl+S to save and Alt+Q to close (or use the file menu).

Now that macro is added to your Word, and you don’t need to do that again. Time to give it a shortcut, to make it easy to use (you can always use Alt+F8 and run a macro that way, but it’s not the quickest):

  • right-click on some empty space in the top menu ribbon
  • click ‘Customize the Ribbon’ to get this option window:
    (Tip: You can add any macro to a ribbon tab by choosing ‘Macros’ in the ‘Choose commands from:’ box and then using the ‘Add >>’ button. But I’ll stick to keyboard shortcuts in this post.)
  • to give a macro a keyboard shortcut, click on ‘Customize’ at the bottom, next to ‘Keyboard shortcuts:’
  • in this new window, navigate down the ‘Categories:’ list to ‘Macros’ – it’s near the bottom
  • choose your macro in the list (it’s now got its full name)
  • click in the shortcut box and type in your shortcut; I’ve chosen Ctrl+Alt+2 as ‘2’ is the key with the double quote on it (UK keyboard)
  • check for Word telling you that’s already in use. You can see my shortcut is already assigned, but I don’t use that one, so happy to override. You can choose another if preferred
  • click ‘Assign’
  • click ‘Close’.

That’s the keyboard shortcut set. Time to open up a test document with some single quotes, and test away!

Tip: to save time in future, the next macro you install could be CustomKeys, to quickly bring up the keystroke customising box!

2. Record them yourself

This may feel scarier than downloading a readymade macro, but the beautiful thing about recording them is that they are tailored exactly to the job you need. And apart from setting up the recording, you’re only doing things in Word that you already know how to do! For instance, I once had to delete a number at the start of certain paragraphs, add ‘PPP’ and a tab instead, and apply a paragraph style. Again a few clicks, and monotonous to repeat. To set up a macro to avoid this repetition, I:

  • placed the cursor before the number
  • clicked the View tab
  • clicked the dropdown menu under Macros
  • clicked ‘Record Macro’
  • gave it a name (‘PPP’)
  • clicked the ‘Keyboard’ icon to give it a shortcut (‘Alt+1’ is convenient for me), then ‘Assign’ and ‘Close’.

From this point onwards, Word was recording every single thing that I did in the program. The only thing it can’t record is using the mouse to move the cursor or select text – make sure to place the cursor where you want it before recording, and to use the arrow keys to move around or select text. So to make my macro, I simply carried out the steps I wanted Word to record and repeat when I next ran this macro:

  • pressed Ctrl + Shift + Right Arrow to select the whole number and following space
  • pressed Delete to delete the selection
  • typed ‘PPP’, then pressed Tab
  • clicked on the appropriate paragraph style button.

Now that I’d completed every task I wanted in the macro, I clicked the square ‘Stop recording’ button on Word’s bottom bar (or back in the Macro dropdown menu in the View tab).

Then, for every other instance where I needed to make this change, I simply:

  • placed the cursor before the number
  • pressed Alt+1.

I’d never find that macro online – who else would need it? But for a job that needs repeating many times, it saves many clicks and taps, and time. Give it a go!

Tip: for other hints and tips on recording and using macros, members should check out the CIEP’s fact sheet Getting started with macros.

You’re not alone

If you’re part of the CIEP’s forums, there’s a community ready on a macro-specific forum to help each other to find, use and improve macros. One person has a problem, others help find a solution, everyone benefits. And we’re a friendly bunch to boot.

About Ben Dare

Ben Dare is a Professional Member of the CIEP and copyedits/proofreads for projects on sustainable food systems and sustainable living (and almost anything else when asked nicely). Otherwise, he’s probably playing with Lego or Gravitrax, cooking, running, swimming or (regrettably) doing chores.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: leaf by MabelAmber, wooden letters by blickpixel, both on Pixabay.

Posted by Harriet Power, CIEP information commissioning editor.

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

A week in the life of a new-ish social science editor

Taylor McConnell started his freelance editorial business in 2021. In this post he describes how he got into proofreading and editing, and how his weeks have varied between doing work and trying to find more work.

I always liked words – spelling them, learning them in another language, making puns about various Italian cheeses while on the bus home from school. It didn’t matter how, but I was fascinated by them. I guess being a language nerd is part of my genetic programming.

My undergraduate studies focused primarily on German culture and politics, but I also developed a passion for memory studies in the meantime. As an interdisciplinary field, memory studies allowed me in my MSc and PhD studies to engage with a wide array of social science disciplines and the humanities, including sociology, political science, history, architecture and linguistics. It’s this unique blend of knowledge production that I wanted to pursue in a longer academic career – that is, until I ran full-force into the giant brick wall that is the academic labour market.

Enter editing

I came into editing ultimately through a mixture of happenstance and frustration (fixing punctuation errors is good stress relief, I must say!). A friend asked out of the blue if I would be interested in editing his bachelor thesis in management. As I also have a management degree and had tried in the past to start up an economics blog with this same friend, I readily agreed. Trying to figure out the pricing for this project, however, is how I stumbled head-first into the CIEP, and I couldn’t have stumbled better.

This was August 2021, and after far too many rejection letters from potential employers, I said ‘Tschüssi, bye bye’ to academia and ‘hello’ to freelancing. By sheer good fortune, my temporary German residence permit allowed self-employment, so I set out working on a business plan for the immigration authorities, as well as building my brand and website and diving into some good old-fashioned CPD.

Starting up as a freelancer in another country, though, does come with its own pains. It took until mid-October to finish all the prerequisite paperwork to register as a freelancer and apply for the appropriate residence permit (which was only approved five months later!). Between actual bits of paid work, over several weeks I had to:

  • figure out billing and tax implications for work within Germany, within the EU and further afield;
  • register for a tax number, a tax ID number and a sales tax number;
  • get all the insurances sorted out – health, business liability, retirement, contents, just to name a few;
  • write all my website copy in German, including terms and conditions and a legal imprint; and
  • create a three-year financial outlook, with monthly cashflow estimates.

Not really something a sociology degree prepared me for …

Time management is a social construct

In the past six months, my workflow has adapted to changes in my own taste for editing and proofreading as well as to my increasing skill set. Starting out, a typical week would exclusively involve writing extensive pleas for contracts on Upwork, which resulted in at least two good clients, or travelling around the Rhine-Main area to stuff student mailboxes with flyers. I realised this was a terrible idea since no one was living in student halls at the time and most university campuses were closed to the public.

As with any freelance job, there is no such thing as a typical work week, and my working pattern now is just as irregular as it was during my PhD. This is both a blessing and a curse. Running a business and writing a 300-page text both involve many moving parts that have to be built, maintained and brought together bit by bit over long periods of time. Skill development, marketing and outreach are just as important now as planning fieldwork, brushing up on my Croatian and dealing with student government were then.

When I do have contracted work, I prioritise that above all else. We need money to live, after all. In these periods, I tend to start working around 9am, getting all the tedious bits of editing out of the way first. This includes:

  • formatting the document to make it easier to read, if the brief allows (12-pt Times New Roman or Helvetica, 1.5-line spacing, all that jazz);
  • running PerfectIt for consistency errors, especially when authors set up MS Word in American English but then write in British English;
  • checking for sentence vs title case (My Worst Aesthetic Enemy); and
  • fixing errant straight quotation marks and eliminating double spaces.

I then typically work online editing in bouts of 35–40 minutes before taking a break to drink my umpteenth coffee or do some chores. I always go for a midday walk around the neighbourhood and then continue working until around 3pm or whenever my brain is fried. If I want to complete something, I’ll resume working around 7pm and work for another hour or two until I can do no more.

In for the long haul

In the first few months, I typically covered three to six student essays or an occasional journal article or administrative report each week, with work sent by other proofreading and editing firms, most of which were located in East Asia. The pay was fine but not as enticing as the projects that paid my own rates, which picked up from December. Ultimately, the good work only came along once I started politely nagging my own Twitter bubble of academics.

Since the beginning of the year, I’ve had fewer but longer and higher-paying jobs from people I know, which has reinvigorated me, as I know where my work is going and who it is directly benefiting. One PhD thesis was enough to cover my bills for the month, and any additional work that I could fit in was also accommodated.

In drier spells, I have focused my attention more on marketing, making tweaks to my website, creating a bank of social media posts and messaging my academic colleagues to gauge their interest in my services. My March so far has been one of these periods, which, after my best month on the books, is now turning out to be my worst. I’m hoping that the extra investments made in building my brand and expanding my reach beyond my initial trusted circles will pay off later in the year.

Managing financial expectations is probably the trickiest factor of freelancing. I am a very risk-averse person and always make contingency plans for any event, but freelancing, as is turns out, was my ultimate contingency plan for not gaining full-time employment elsewhere. In the end, however, making the jump into editing is probably the best work-related decision I’ve made in a decade. I have complete control over every last detail of my work, who and what I get to work with and how much I get paid for it.

The value of networking

There is strength in this sort of independence, but there is even more in the network of freelancers and editorial professionals that the CIEP has created.

I didn’t come into freelancing expecting to earn as much as I would have, perhaps, in a full-time position regulated by state contracts, nor have I yet. But the degree of personal development that this job and this network in particular foster is beyond what I could have imagined. One bumpy month is more than offset by the new wonderful cast of characters I have encountered in the Cloud Club West meetings each Thursday. They have been nothing but supportive and encouraging, even in hard times. (Join us!)

This career is not the one I originally sought, but it is ultimately the one most suited to my interests, skills and habits, and I’m happier for it. And although I don’t ever expect to develop *the* ultimate weekly routine, it’s so helpful to continue learning from others about their experiences as freelancers and how they use their time. You never know where you’ll find your next source of inspiration.

About Taylor McConnell

Taylor McConnell is an editor and proofreader for academic and corporate texts and a German-to-English translator based in Wiesbaden, Germany. He specialises in social sciences and business studies and works primarily with multilingual authors. Taylor is an Entry-Level Member of the CIEP and holds a PhD in Sociology on post-war Croatian memory politics from the University of Edinburgh.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: book by Kranich17, to do list by StockSnap, both on Pixabay.

Posted by Harriet Power, CIEP information commissioning editor.

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

Talking tech: Making Windows open to all

Andy Coulson looks at the accessibility improvements in Windows 11 in this Talking tech column (previously known as What’s e-new?).

As you have probably seen, a big Windows upgrade is out and many of us will be prompted to update soon. Microsoft are keen to emphasise improvements in the visual design and how these help tools work together. As part of this they have looked hard at how to support accessibility. While it looks as if there aren’t many new features, Windows 11 has tried to improve these and make them easier to use and clearer and more integrated visually.

The first of these changes, and one that sets the tone of what Microsoft have done, is in renaming Windows 10’s ‘Ease of Access’ section of settings as ‘Accessibility’, a widely recognised term. This also highlights a change in the way Microsoft consulted – they talked to the community much earlier in the process, allowing them to integrate those features much more tightly into the design. This has led to Windows 11 trying to address a much broader spectrum of accessibility and reflect that some disabilities can be temporary or situational. An example of this could be a broken wrist, forcing you to alter the way you work.

Microsoft groups these features into four broad categories: ‘Vision’, ‘Hearing’, ‘Mobility’ and ‘Neurodiversity and learning’. I will use these categories below.

Vision

Windows has always allowed you to do a lot of customisation of how the screen looks. Windows 11 has a set of new high-contrast themes that increase contrast and reduce screen brightness. As well as helping those sensitive to light, these can give your eyes a bit of a rest on a long day.

For those with weaker eyesight there are a series of options to make Windows easier to use. The mouse pointer can be customised to make it more visible, through increasing its size, having a stronger contrast or setting it in a bright colour. You can add mouse trails so its movement is easier to track and, if you use a touch screen, you can add visual feedback when you touch the screen.

Another tool to help here is the Magnifier. This can be turned on with the Windows logo key and the plus sign. It allows you to zoom in and move around the screen. You can continue to work and interact with whatever you have on screen while zoomed in.

Colour filters help make the screen easier to see. As well as filters that invert the colours, or change to greyscale or inverted greyscale (that is, a black and white screen) there are a number of filters that focus on different types of colour vision deficiency.

Finally, for anyone who can’t read a screen, there is a Narrator tool that can read aloud what is on the screen. Couple this with voice typing, which I will look at below, and you can effectively use a PC without a screen.

Hearing

Sound was one area where Microsoft’s earlier engagement on accessibility has really influenced what they have done. Many customers with hearing difficulties found the feedback sounds ‘aggressive’, and this has influenced the sounds in Windows 11, which attempts to create a calmer scheme. It also highlighted the need to ensure that the sounds used a broad range of tones across the hearing spectrum. Feedback from users with visual impairments also influenced changes to the timing of when sounds are played. The startup sound now plays when you are able to enter your login information.

Other assistive options here include being able to switch between stereo and mono audio, and adding visual indications to audio notifications, so the screen will flash with an audio notification.

Windows 10 and 11 both have the closed-captioning system for video, adding captions for what is being said. As well as helping someone with a hearing impairment, this can be helpful if you are watching in a noisy (or quiet) environment, or learning a new language. The captioning can be extensively customised to make it easier to read, and Windows 11 adds new themes for this.

Mobility

Windows 11 has updated the voice typing feature, with additional languages and commands. This allows you to dictate directly to the computer and have the words appear on-screen. There are various command words that allow you to add punctuation, delete things, select things and so on. In fact, I’m using that to dictate this paragraph and I have to say the accuracy is pretty good. While this isn’t going to be usable for editing, I’m certainly going to look at it a bit further for quick notes and first drafts for writing.

Windows also has a more sophisticated speech recognition system that ties in with its virtual assistant, Cortana. This is more focused on controlling and navigating the computer. The pre-release information on Windows 11 suggests to me at least that the voice typing may use the same AI speech recognition engine as Cortana in this release. This perhaps means that the two will merge over time.

The other feature here is eye tracking, which requires some additional eye-tracking hardware. Windows 11 adds support for more devices and some extra languages to a feature that came in partway through Windows 10’s useful life. Again, the implementation looks well integrated and perhaps points the way to a future interface.

Neurodiversity and learning

Microsoft have built various tools into Windows 10 to help remove distractions such as notification pop-ups, and you can customise these with various rules governing what you see and when. You can also remove animations, desktop backgrounds and suchlike. Windows 11 has taken these features and appears to have tidied up and in some cases simplified them. I’m very anti-notification to start off with and have most of these turned off, so perhaps I’m not the best person to judge how useful they are. As Windows 11 seems to focus on working smoothly across applications, I think notifications will be one of the tools it uses. However, it seems as if it is going to make it easier to manage these and perhaps give more granularity in terms what you can do.

The final feature highlighted is the Immersive Reader that works with text in the Edge browser. Microsoft say that it ‘simplifies a web page layout, removes clutter, and lets you customise your reading experience’.

The text tools allow control over the text size and spacing, and the colours used on the page. The themes are inspired by Irlen Spectral Filters, and so support colour schemes that can help people with various conditions. An example would be using a pale yellow background for text, which could be helpful for someone with dyslexia. There are also some grammar tools that allow highlighting of nouns, verbs, adjectives and adverbs, and splitting words into syllables (eg syl·la·bles). Finally, there is a line focus tool that highlights one, three or five lines at a time, helping the reader focus on a smaller amount of text. It will be interesting to see if these tools get integrated into Word in the longer term.

Summing up

Microsoft appear to have built accessibility into Windows 11 in a much more holistic way than before – it is an interface designed to work for most people rather than adding in features. Based on the previews, I think Windows 11 is going to make supporting accessibility easier. In doing this, I think it allows a broader range of customisations that will help users make the system work for them. Through supporting a more diverse range of users from the start, we all ultimately benefit.


Andy’s previously written about considering the environment when buying technology, the terminology of technology, open banking options and how to be your own IT department.


About Andy Coulson

Andy Coulson is a reformed engineer and primary teacher, and a Professional Member of CIEP. He is a copyeditor and proofreader specialising In STEM subjects and odd formats like LaTeX.

 

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: open window by Chris Barbalis; colourful laptop by Dhaval Parmar, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

 

 

The 2021 CIEP conference: The editing educator

This year’s CIEP conference was held online, from 12 to 14 September. Attendees from all over the world logged on to learn and socialise with their fellow editors and proofreaders, and a number of delegates kindly volunteered to write up the sessions for us. Sheila Korol reviewed The editing educator: What you need to know about teaching editors, presented by Erin Brenner.

Feedback, kindness and humility

Feedback, kindness, and humility were just a few of the keywords that stood out in Erin Brenner’s session on what you need to know about teaching editors.

Having started her own business, Right Touch Editing, in 2005, Erin has been training other editors since 2012. So, speaking from ample first-hand experience, she presented on how teaching can lead to both more income and a deeper understanding of our own editing craft through building relationships with students.

Who’s the best editing instructor?

The first part of Erin’s session addressed knowing whether we’re ready to teach. Since editing takes time to learn, her advice was that editors should have at least two to three years of solid experience first in order to consolidate their understanding of editing procedures, tools, and publishing processes.

Since public speaking is also likely to be a skill we don’t use much in our editing lives, Erin advised on ways to gain experience and confidence in this area. This might be through recording and reviewing your presentation style, joining a group like Toastmasters, or giving short and free talks to small local groups.

A point Erin stressed early on was what she viewed as the ‘right traits’ helpful to both editing and teaching. These include:

  • Humility: accepting we will never be perfect and we will make mistakes
  • Kindness and patience: giving our students time and space to struggle and learn
  • Firmness: setting deadlines and teaching students to be accountable
  • Open-mindedness: accepting that multiple solutions exist and recognising all good work.

How do we teach?

In the second part of her session, Erin explained the importance of editors knowing not only the right content to share with students but also the means of elaborating on and organising information in a way that will help students better retain knowledge in their long-term memory. Some of the key techniques she shared for accomplishing this knowledge transfer include:

  • Low-stakes testing: breaking down knowledge into frequent, smaller tasks such as quizzes, skills practice, and participation to reduce student anxiety
  • Modelling: anonymously sharing both right and wrong work produced in the class
  • Giving detailed feedback: identifying and explaining problems and how to solve them
  • Praising: always encouraging, motivating, and building students’ confidence by frequently pointing out their correct answers.

Where to find teaching opportunities?

Compared to a few decades ago when few options existed, editors today have a multitude of teaching opportunities through several different teaching platforms, timelines, and institutions. Teaching turnover tends to be high in many regular programmes, so the demand is certainly there for interested editors. Places to look for work include colleges and universities, professional training programmes, and editing organisations. Other ideas include searching job boards, cold-calling editing programmes, or networking with instructors. Additionally, more and more editors are now creating and marketing their own individual programmes. It’s worth noting, too, that editors can always reach out to a wider range of language-related fields such as communications, journalism, and marketing.

Overall, if you’re an editor thinking of branching out into teaching, Erin’s presentation was filled with thoughtful and practical ideas to start you on your way.

Sheila Korol is from Canada and an Intermediate Member of the CIEP. An experienced English literature teacher, she lives in Hong Kong where she has set up shop as a freelance proofreader and copyeditor for independent authors, academics, and educational publishers.

Find her on LinkedIn or Twitter.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Posted by Abi Saffrey, CIEP blog coordinator.

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

Meet our members: Leona Skene

We want you to meet our members, so we’ve asked some of them a few questions, and have found out how they started their editing career, and what they love about their work. In this post, Intermediate Member Leona Skene tells all.

Why did you choose an editorial career, and how did you get into it?

I’ve always known that I wanted to work with words and language. As a child, I was an enthusiastic reader, and I chose to study English & Scottish literature at university. I then went on to gain a certificate in Creative Writing.

It became apparent that I wasn’t ever going to become a famous novelist, and so I went on to work in unrelated fields for a number of years. After a career break to have my children, I realised that my strengths actually lay in editing and polishing other people’s work, not in creating my own.

I undertook training with the CIEP (then SfEP) in 2015. I then worked on ad hoc freelance projects, along with a regular gig as sub-editor of an events magazine, until January 2021, when I launched my own business, Intuitive Editing.

What training have you done to get your editorial career up and running?

I completed the CIEP’s Proofreading 1 and Copyediting 1 courses, and I’ve attended several useful webinars through ACES: The Society for Editing. I’m committed to further CPD through the CIEP: I completed Word for Practical Editing earlier this year, and am looking at Efficient Editing: Strategies and Tactics as my next step.

What work are you most proud of?

I take pride in all my editorial jobs, but I’ve worked on a few projects where I’ve been able to give specific advice on the Scots language, along with Scottish culture and identity. I do feel really proud of that.

What do you do if you’re struggling on a job?

I usually step back, have a bit of a breather, and try to regain perspective. I often ask for advice from colleagues in the Editors of Earth Facebook group; they’re a great bunch, with many CIEP members involved. And the editing community on Twitter is very helpful.

What does being a member of the CIEP mean to you?

Being a CIEP member is immensely important to me. Becoming a freelancer essentially means you’ve magicked up a career for yourself out of thin air – this can be wonderful, but the flip side is that it’s easy to let imposter syndrome get the better of you. There’s no line manager to provide feedback; nobody to tell you if your decisions are good ones or bad. The CIEP provides that all-important backbone of training, support and professional accreditation. I couldn’t have started my business without that.

Which editorial tasks do you enjoy the most, and why?

I love doing the first pass of an editorial job: getting the feel of the text, absorbing the author’s voice, making notes of any immediate issues that jump out. There’s a little thrill in entering the ‘world’ of a book for the first time and seeing the difference you can make to it.

Do you have any editorial pet hates?

Comma splices. My editing style is quite relaxed, but there’s something about those cheeky little baddies that rubs me up the wrong way. All comma splices are annihilated with extreme prejudice.

What has most surprised you about your editorial career?

The variety. As a relatively new editor, I’m still in the process of finding my niche and deciding which area to specialise in. I’ve been lucky enough to work on historical fiction, children’s fiction and YA, sci-fi and fantasy, and creative non-fiction. I’ve learned so much along the way, and I’m still learning!

What’s the best career advice you’ve received?

‘Under-promise and over-deliver.’ Don’t promise the world; be conservative and realistic about the service you can provide within a specific timeframe. It’s quite likely that you’ll deliver the project a little earlier than stated, which is always a nice thing for the client.

What advice do you have for people starting out on an editorial career?

I’d say that professional training is a must. It’s great to have a natural talent for spotting typos, but there’s stuff you just won’t learn unless you study it properly. Or possibly you will learn it, but it’ll take much longer.

I would recommend looking at the CIEP’s course directory or that of another recognised provider, such as the PTC. If you’re not at the stage where you want to commit to training, it’s worth joining a few Facebook or other social media-based editing groups – these can give you a general feel for the type of work editors do on a day-to-day basis. Another fantastic resource for newbie editors is Louise Harnby’s website – Louise has loads of information and how-to guides for both editors and writers.

Do you ever stop editing?

Absolutely never. I’m editing in my sleep at this point!

Finally, tell us one thing about you not related to editing

I lived in Italy for two years, and although my spoken Italian is now woeful, I still have strong feelings about pasta, pizza and the proper time of day to order a cappuccino. It’s a morning drink!


Want to meet more of our members? Head over to the Meet our members page.


About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: open books by lil_foot_; Scotland by bummelhummel; cappuccino by gadost0, all on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

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