Category Archives: Training

SfEP wise owls: continuing professional development for experienced editors

Welcome to the latest SfEP wise owls blog. This month, the owls provide advice on continuing professional development for experienced proofreaders and copy-editors.

website-votenow-1The team would like to take this opportunity to invite you to support our nomination for the 2017 UK blog awards. The public vote is open until Monday 19th December and you can vote for the SfEP blog via the UK blog awards website. We hope you have enjoyed reading about the SfEP and its members in the blog and would appreciate your support!

 

Hazel BirdHazel Bird
If you’re feeling on top of your game with your editorial skills, consider improving your knowledge of the fields you edit and the conventions those fields use. For example, if you edit fiction, take a creative writing course. Or, if you edit history, attend a webinar, read a book that challenges you, or consider a course or qualification. You can also attend subject-specific conferences or join discussion groups on social media such as Facebook. The more you know about your specialist fields (or the fields you want to specialise in), the better you’ll be able to tap into how your clients think, what they want from you as an editor and what conventions their field will expect them to follow.

Melanie Thompson
Sometimes the best CPD comes from unexpected places. A long time ago I did a brief stint as a school governor. I was sent on a short training course, and I learned a lot from that about working in teams, understanding more about how schools tick, and – crucially – things about curriculum development and changes in teaching methods. A few years later I attended a “maths for parents” evening class at my son’s infant school and learned some handy new mental maths techniques. Fast forward to 2016 and I went along to a parents’ forum at my son’s (senior) school, where the discussion topic was “use of IT in classrooms”, especially ebooks and students’ use of tablet computers. All these lessons popped into my mind during a session on education publishing at this year’s SfEP conference, and continue to inform my approach to working in that sector.

John EspirianJohn Espirian
Invest time in learning how to improve your website and how you can apply basic SEO to stand out. There are a million and one podcasts about digital marketing techniques. Listen to them while walking, driving, cooking, whatever. Even if only a tiny bit of that knowledge sticks, it will likely put you ahead of a lot of people who don’t know the first thing about optimising and promoting their online presence.

Answering questions on LinkedIn, Facebook and especially the SfEP forums will help you realise where you’re strong. Can you answer every question you come across? If not, what areas are you weak in? Why not deep-dive on those? How much of the SfEP’s own editorial syllabus do you know inside out?

Sue LittlefordSue Littleford
Lack of money doesn’t mean you have to forego learning. These are all free of charge. Explore the world of MOOCs (massive online open courses) as a free way of developing your subject, editorial or business knowledge (e.g. from FutureLearn, and Oxford University is offering its first MOOC from February), and use HMRC’s free webinars and videos to make sure you’re on top of your self-assessment, and claiming the right business expenses. Keep up with tech changes. Each month pick one, say, Word function you struggle with and master it. Don’t waste your time fighting with your software – find a YouTube video to help you use it and sign up to the WordTips emails for daily or weekly emails and access to a library of tips. Join the macros SfEP forum to get an insight into how people use macros to save time and improve effectiveness, and get support as you try things out. Apply the same approach to other software you use.

Margaret HunterMargaret Hunter
I’ve found that a good way to sharpen up my understanding of what it is that I’m doing is to think about how I explain the process to clients, especially non-publisher ones. Over the years I’ve written (and rewritten!) mini guides to help my clients, for example what happens during copy-editing and proofreading, and a checklist of things for self-publishing authors to think about. I’ve also put together business documents I need or find helpful, such as terms and conditions, a services contract, style sheet and queries templates, and the like. Thinking about how you explain your business to others could help you identify any gaps in your knowledge (go fill them!) and enable you to sharpen up your working practices to become more professional.

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Posted by Tracey Roberts, SfEP blog coordinator

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

 

 

 

 

 

 

 

 

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Macros for editing? SfEP conference session preview

By Paul Beverley

The upcoming SfEP conference (Sept 10–12) offers an excellent range of learning opportunities, but unusually this year it offers a total of four hours of training on macros. Can one really justify spending four hours learning about macros?

Well, it depends what you think a (Word) macro is. If you research this via the internet, you will find various definitions such as, “A macro is a way to create a shortcut for a task that you do a lot.”

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The implication of all the definitions I looked at was:

(a task I already do) + (a macro) = (the same task done faster)

If that were all that macros could do, then those four hours would indeed be excessive.

However, I think that you get a better idea of what a (Word) macro is, if you say that it’s an app used to handle Word files. But what does an app do? The answer is, almost anything. So if a macro can do ‘almost anything’ with the contents of a Word file (or indeed a set of Word files), then they can provide the editor with a whole new set of tools.

Indeed, starting to use these new programmed macros (as opposed to just recorded macros) is akin to giving a sewing machine to someone who has only ever done hand sewing. Their hand sewing might be immaculate, and those techniques are still very valuable, but they will end up manufacturing garments much more quickly than before, and those garments can be of finer quality because of the consistency that a sewing machine is capable of – but they will need to learn new ways of working.

You might think this an overstatement, but hopefully the session on ‘Macros for editors’ will begin to open new horizons. Everyone will be able to benefit from finding a few new macros that will speed up the way they work, but for those willing to be more radical and learn new techniques over the next few years, you can expect considerable increases in earning rates.

Paul_Beverley1Paul Beverley has been an editor and proofreader of technical documents for over 10 years. He’s partly retired now, but doesn’t want to stop altogether because he enjoys his work far too much! He writes macros for editors and proofreaders to increase their speed and consistency, and makes them available free via his website.

 

Posted by Tracey Roberts, SfEP blog coordinator.

Proofread by SfEP Entry-Level Member Sarah Dronfield.

photo credit: 2014-08 – Grand Lake via photopin (license)

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

Practice makes (closer to) perfect

By Liz Jones

Imagine that you’ve recently completed some solid training in proofreading and/or copy-editing, and you’re looking forward to your new existence as a fully fledged editorial professional. But wait! How can you be sure you’re correctly applying all that you’ve learned?

One of the best places to learn is on the job, but this can be particularly stressful when you’re starting out. You want to be sure you’re doing the best work you can for a paying client – not only to offer them a good service for the money, but also to secure repeat business.

Practice
Here are some tips for getting valuable proofreading or copy-editing practice when you’re starting out, or if you’re expanding into new areas – without risking your reputation on a live job.

Mentoring

Once you’ve undertaken enough basic training, one further training route that the SfEP offers its members is mentoring (as do some other editorial organisations, such as EAC). You can be mentored in general proofreading or copy-editing, and there is now also the option of specialist mentoring in areas such as fiction, biomedical journals, law and music. Your mentor will send you exercises to work on (usually extracts from material they have edited previously) and will then provide you with detailed feedback and guidance on your strengths, as well as where you need to improve, over the course of several months. On successful completion of mentoring you will be awarded points that can be used towards upgrading your SfEP membership.

Books

You might choose to carry out practice in the form of further self-study after completing more formal courses. One book that comes highly recommended and has been used by many proofreaders when starting out is Advanced Professional Member Margaret Aherne’s Proofreading Practice: Exercises with model answers and commentary.

Forums

Those of us who work freelance can lack opportunities to simply lean over and ask a more experienced colleague for help if we get stuck, or if we don’t know where to turn to support an editorial decision. One ever-reliable source of information on best practice is the SfEP forums. You can ask your own question as it arises, or search the extensive archives to see if the topic has been discussed before. (Often, it has!) Alternatively, read the forums regularly and see what others are asking. Sometimes the battle when trying to improve as an editor is not finding the answer to a particular question – it’s finding out what questions it’s necessary to ask.

The SfEP forums aren’t the only places to go for advice. Other online forums, such as the Editors’ Association of Earth Facebook group, are also invaluable and easily accessed sources of advice and support, and can provide a slightly different perspective.

Critical appreciation of others’ work

This is one method that does require a live job and a dash of good fortune, but sometimes as a proofreader you will be lucky enough to see the work of an editorial professional employed earlier in the process, such as the copy-editor or the development/commissioning editor, as part of your proofreading or copy-editing job. Even a small insight into how someone else – perhaps someone considerably more experienced – works can be illuminating. Don’t simply collate what’s there, or skip over it – try to understand why editorial decisions have been taken, and what the implications are for you and the wider publishing process.

Local group

If you are able to attend a local SfEP group, this could provide an ideal opportunity to pick colleagues’ brains about best approaches to work. Perhaps you could suggest sharing examples of how group members have tackled real-life jobs, or short extracts from them … NDAs and client confidentiality permitting, of course.

Read, read, read

It sounds obvious, but it can be easy to overlook the need to read voraciously, outside of actual work. If you specialise in particular types of editing work, and most of us probably do, it’s obviously important to read widely in these areas – but really, almost any kind of reading will help to train your eye and help you to know what good writing looks like (and what it doesn’t). And let’s face it, it’s not as if more reading is a chore for most editors!

Finally …

This might sound obvious, but you can’t ever have too much practice. It’s possible to get up to speed with the basics of editing fairly quickly, but it can take years to get really good. You never stop learning, even over the course of decades – technology and software move on, and editorial fashions and tastes change. Keeping up to date with innovations and reflecting on your practice never stop being important.

photo 2016 croppedBy 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

Image: Photopin. Creative Commons (license).

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.

Are you mystified by macros or stumped by styles? You need our new course Editing with Word!

By Denise Cowle

Do you listen in awe as other editors casually say things like ‘So I just wrote a quick macro. Job done,’ or ‘I always run PerfectIt before and after a job – I simply couldn’t LIVE without it,’ and then slink away to contemplate your inadequacies, bemoan your ignorance and seriously consider abandoning editing for a peaceful life as, oh, I don’t know, a snake wrangler?

Or have you always wanted to do the onscreen editing workshops run by SfEP but could never find the right time or place to do them?

Sigh no more, editors, sigh no more.

The SfEP has launched a new online course which will be the answer to your prayers. Editing with Word is replacing the highly regarded workshop courses Onscreen Editing 1 and 2, providing editors with the tools to edit more efficiently and effectively in Word.

Editing with WordMoving the course online opens it up to many of us who were unable to attend the workshop courses, whether for financial or geographical reasons or because of the constraints of other commitments.

We can now take the course at our own pace at a time that suits us – if you’re a night owl there’s no need to get up early to travel to a course, as you can do your best work in the wee small hours as usual!

You have access to the course content for five months after registering – plenty of time to chip away at it, absorb the information (there’s a LOT of it!) and work through the exercises at your own pace. You could even work through it more than once – I know many editors repeated the OSE 1 & 2 courses to get the most from them. Plus, you’ll have access to a dedicated forum for further advice and support.

This course has a huge amount to offer everyone, regardless of their experience (although you need to be familiar with how to use Word) and will be of benefit to every editor who works in Word. So that’s pretty much all of us.

I’ve been lucky enough to have advance access to the course and, in my opinion, you certainly get your money’s worth. Attractively priced at £149 for SfEP members (£247 for non-members, and discounts for members of related professional bodies), you have ten chapters to work through on topics including styles, templates and macros, and tools including ReferenceChecker and PerfectIt. There are lots of hands-on exercises to put the learning into practice as you go.

For more details on the content you can check the course information page.

So if you want to improve your productivity and value as an editor, why not make room now in your diary to take the course? You won’t regret it.

Denise CowleDenise Cowle (denisecowleeditorial.com and @dinnydaethat) is an Advanced Professional Member of the SfEP and is also the coordinator of the SfEP local Glasgow group (@SfEPGlasgow). She specialises in English Language Teaching materials but also works on non-fiction books. Denise lives in Glasgow, and before seeing the light and retraining as an editor she was a physiotherapist in the NHS.

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

What I learned from the pre-conference editing fiction course

By Sara Donaldson

Three Little Pigs and a (not so?) Big Bad Wolf

Three Little Pigs and a (not so?) Big Bad Wolf

This year is the first year in a very long time that I have been able to even contemplate attending an SfEP conference; usually conference time falls during term-time making it virtually impossible for me to attend. However, when I saw the dates for the 2015 conference at Derwent College in York, attendance became a possibility as I knew my daughter would have recently left school and York is close enough to ‘home’ that a visit, plus conference, was feasible. And once I saw the topic of the pre-conference course, I knew I had to attend. This was my chance to gain face-to-face basic training on something I have been toying with for years – fiction editing.

By the time I arrived at the York campus on the morning of Saturday 5th September I was slightly frazzled. A 12-hour drive from the far north of Scotland the previous day, followed by an early morning drive from Whitby to the one part of York I didn’t really know, meant that I was too tired to be nervous about jumping in at the deep end and meeting a bunch of professionals I didn’t really know. By the time I sat down in the well-hidden tutorial room all thoughts of imposter syndrome had vanished. I’d fluffed the hoped for brilliant first impression I’d make as I didn’t so much introduce myself to the first person I met as headed off in the opposite direction back to the car park to collect some forgotten items. Thank goodness there was plenty of coffee!

The group was comfortably small, with around 10 attendees, and as we all sat at desks in a horseshoe formation (much better than in groups), we introduced ourselves to the room and to Gale Winskill and Stephen Cashmore, our tutors for the day. By this time I was a bit apprehensive – my route into editorship was a bit convoluted, so who was I to sit in a room among ‘real’ editors when I’ve only really worked on non-fiction and still find it hard to actually say I’m an editor? But the worry soon subsided as we started the course and my brain kicked in.

Gale started off by going into detail about the different types of client we should expect to work for as fiction editors, and what they actually expect from us. She also explained how self-publishing does not necessarily mean that the author cannot get a publishing deal; they may simply prefer the hands-on approach and want to feel in control of their creations. We then discussed how to quote for a job (this course concentrated on copy-editing of fiction, not structural editing), what to look out for and the different ways of working on a text. It had honestly never occurred to me that self-publishing authors would not like tracked changes on a Word document, and that they may not care about the changes you make to spelling, punctuation and grammar. It really brought home to me that working on non-fiction has spoiled me somewhat; I tend to take some of my working practices for granted and assume they are the norm, although my meticulous style sheet habit will stand me in good stead.

We moved onto plot and structure (with more coffee), and discovered the differences between premise, theme and plot, before moving into more detail on structure and what we, as editors, should be looking out for. The first exercise of the day had us writing premises and a theme for the Wolf’s Story from the Three Little Pigs. Loved it! By the end of the day I had become particularly fond of Mr Wolf.

While Gale was having a well-deserved rest we moved onto dialogue with Stephen. I found this really interesting, especially as it showed me that I actually know what I’m doing. I loved his take on fidgets and throat-clearing. Erm … well … yeah, like … I really did actually.

I know we stopped for lunch at some point … then came voice, style and point of view. Now POV is something I really need to practise – internal, external, first-person, third-person … it’s enough to make your head spin when you think about it. Luckily our handout is great for explaining it in more detail, better than my scribbled notes, so I shall be going back to that frequently.

Consistency was great; plot-holes, timelines and setting appeal to my inner perfectionist. Feedback among the group reminded me of a time when I noticed a helicopter travelling a LOT further than it was capable of in one of the novels I was reading for pleasure. Glad it’s not just me who notices these things when they’re not working!

We worked through character, style and how books in a series should be treated, then finally looked at critiques, synopses and blurbs. Now critiquing is something I’ve been curious about, as it’s always been a mystery to me how an editor actually moves into critiquing, and by the end of the session I came away believing that, far from being something I could never do, this was something I really could do. And the blurb discussion showed me that I’m doing things right (I often write the blurb for a regular client’s books).

So what did I get out of this pre-conference editing fiction course? Lots!

The exercises scared me at first (what if I really wasn’t good enough?), but they showed me that my training has been good, my experience has counted for something and that I really can call myself an editor. I’ve also come to realise that, rather than being a leap too far, I can move into fiction editing if I want to. I just have to take it slowly and use what I have learned (and continue training). Finally, this course gave me my first real-life meeting with real editors and I loved every minute of it. I’m glad to be associated with such a lovely bunch of people, and this course has given me the confidence to look further at fiction editing without the horror of the unknown.

If you are interested in training for editing fiction, look at the SfEP online course Introduction to fiction editing

Sara DonaldsonSara Donaldson is an editor with an eye for a mystery. When not editing a range of projects she can be found with her Sherlock hat on as a professional genealogist, or in the theatre doing what needs to be done. You’ll find her at northerneditorial.co.uk.

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

 

Posted by Margaret Hunter, SfEP marketing and PR director. Proofread by Carina Bailey.

Writing out web addresses

Here’s a question I’ve seen a few times of late: when writing out a web address, must we include the whole address or is it safe to omit part of it?

Some house styles set out guidelines for writing web addresses. One would think, then, that the practice is simply a matter of style. In fact, it mostly is – but not always.

So that we know the names of the components that make up a web address, let’s take a look at an annotated example:

Components of a web address

Keeping with protocol

Web addresses begin with a ‘protocol’, the most common being http:// and https://.

From the technical point of view, the protocol isn’t usually required when quoting web addresses. To use the SfEP’s own website as an example, all modern browsers will treat the following addresses as equivalent:

When it comes to being consistent, we wouldn’t usually want both styles of web address to appear in the same piece of work.

The complications tend to come about when we start introducing addresses with other protocols to the same document. For example, if we wanted to make specific reference to a secure website, it would be correct to indicate this by including the protocol in the address, such as:

The intelligent reader will see the protocol and immediately understand that the website is secure, regardless of any other information about the site in the text.

Almost every website that has a secure area will also have rules that discreetly redirect users from the standard protocol (http://) to the secure protocol (https://). To demonstrate this, one can visit the following address:

Now, because a protocol hasn’t been included in the example above, the browser will try to take the user to the http:// version of the site (this is the default behaviour of all web browsers). Seeing that action, the server running the website will automatically and immediately redirect the user to the https:// version.

In short, this means that, even for secure websites, a protocol isn’t usually required in the address. I write ‘usually’ because there are some rare cases where web servers may display the wrong page if the secure protocol is not specified.

In cases where any protocols are included so as to give the reader a cue, it stands to reason that all other web addresses in the same document should also include protocols, on grounds of consistency.

In a document where standard web addresses are the only ones used (i.e., http:// and nothing else), it seems unnecessary to include the protocol. Omitting the protocol is both consistent and technically correct.

Handling new domain names

One common reservation with omitting protocols is when it comes to the newer domain suffixes, many of which most readers may not have heard of. Here are some examples:

If you saw these in running text, would you know that they were web addresses? Or might you think they were the ends and beginnings of unspaced sentences? The caveat here is that if unusual or novel addresses are used in a document, they might be worth qualifying with a protocol – and in turn that would require every other address in the document to include a protocol, too (on the assumption that we’re going to be rigid about consistency).

The cautious editor could use this argument to recommend that protocols be included on all addresses, to prevent a major rekeying effort in the event that some novel address is later added to a work that had previously contained only run-of-the-mill addresses. You’d have to make a decision about whether this would be too cautious an approach. For what it’s worth, I’ve been omitting protocols for quite a while now, having previously been a staunch supporter of mandatory inclusion.

Omitting the ‘www.’ part of an address

Some people don’t know that it’s usually possible to omit the ‘www.’ part of a web address and still be able to retrieve the website. This part of the web address is known as the ‘subdomain’. Most web servers are set up so that the domain (the key part of the address) and the ‘www.’ subdomain each allow access to the website. Here is an example:

Unfortunately, it’s not always possible to omit what would otherwise be a redundant ‘www.’ from the address. Here are some examples:

Trailing slashes

A trailing slash is the forward slash character (/) sometimes added to the end of a web address. This should be added only to the end of a domain name or a folder name in the address. Here are some examples:

  • www.example.com/ – correct
  • www.example.com/folder/ – correct
  • www.example.com/folder/file.html/ – incorrect

One might wonder why a trailing slash would ever be added to a web address, given that the website ought to be displayed just as well without it. The answer is that the appropriate use of the trailing slash eliminates one unnecessary request from your computer to the server, thereby reducing the load on the server. You might not notice any positive effect, but it’s still a good practice to adopt: very busy servers will run better if their load is lightened in any way.

Web addresses followed by punctuation

A web address directly followed by any punctuation mark has the potential to confuse, because some readers may incorrectly interpret the punctuation mark as being part of the address. Word processors and email programs can sometimes be guilty of this mistake, turning an otherwise correct address into a link that doesn’t work when clicked. Thankfully, this is less of an issue than it once was.

It’s quite easy to fall foul of the ‘address plus punctuation’ problem when copying and pasting an address. It’s therefore sensible to avoid directly following an address with a punctuation mark; however, if the context is clear or the readership is web savvy, there may be no need to reword the text.

In my opinion, the omission of a terminal punctuation mark for the sake of clarity is preferable to the occasional practice of adding a space between the address and the punctuation mark. As usual, we should be consistent in the handling of all such matters.

Conclusion

If your client’s style guide sets out preferences for how to write web addresses, you should of course follow those preferences. But be mindful of any newer types of address that might confuse readers, and check that all addresses do indeed work as written.

If you have no style guide from which to work, remember that it’s perfectly fine to use the shortest possible address that will result in the desired website being loaded correctly.

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.

 

Proofread by SfEP Advanced Professional Member Etty Payne.

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

The benefits of mentoring

SfEP logoWho doesn’t need an experienced and trusted adviser?

A year ago, I was new to this editing lark. I had completed the SfEP’s Introduction to Proofreading, Introduction to Copy-Editing, Proofreading 2 and On Screen Editing 1 and the PTC’s formidable proofreading by distance learning course. I now wanted to put my skills out there and charge for them. But did I really know what I was doing? How good was good enough?

If you are employed, you have someone checking your work at first. You have colleagues to compare yourself with. You get feedback from people who know what they are talking about. When you are trying to be self-employed in a new-to-you field, you do not have any of that.

What did I need? An experienced and trusted adviser. Guess what – that’s the Oxford Dictionary’s definition of a mentor. And guess what again – the SfEP has a scheme to provide mentors just like that to people just like me. I signed up.

I am sure that every SfEP mentor will do things differently, but in my case I received four pieces of work from my mentor and had a set period within which to complete each one. The idea was to treat my mentor as a client, getting practice in sending professional emails and sticking to deadlines. Once one assignment was finished and I had had the feedback, I could say when I wanted the next one, so there was no feeling of being over-committed and the training fitted in around whatever else I was doing.

The assignments were examples from the real world, and covered a section of a reference book on paper, a PDF leaflet, a reference list to be marked with track changes and a school textbook PDF. I laboured over them, sent them off to the deadlines and got my detailed feedback, which went through each assignment point by point.

I loved having someone who worked with me intensively for a short while, who knew what they were about and who was being paid to provide advice so that I did not feel bad about taking up their time.

What did I gain? Heaps of things, but here are a few. I learned:

  • to think about who the client is and what they are looking for;
  • not to panic if I did not find lots of mistakes (this is real life, not an artificial exercise designed for a training course);
  • to look very carefully at the fonts and the headings;
  • to make it clear in my mark-up what was an instruction to the typesetter and what was a suggestion/question to the client.

I gained a huge amount of knowledge and reassurance in a short space of time. It gave me the confidence that I could credibly look for paid work. Not only that, it gave me the final 10 points I needed to upgrade my SfEP membership and reassure potential clients that I was a professional. I was off on my new career.

To find out more about the SfEP’s mentoring scheme, including costs and entry requirements, visit the Mentoring section of the website.

JHI_4220bLiz Hunter (Humbie Editorial) specialises in copy-editing academic books and articles and proofreading theses. Her previous career was in the public sector and included being Director of Schools in the Scottish Government and a member of the Organising Committee for the Commonwealth Games in Glasgow. She has recently combined her two careers by working some days on a freelance basis for the Official Report (Hansard) in the Scottish Parliament.

Proofread by SfEP entry-level member Karen Pickavance.

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

26 reasons to go to the 26th SfEP conference

If you still need convincing to go to this year’s SfEP/SI conference (with the theme ‘Collaborate and Innovate’), here are 26 reasons to book your place right now.

  1. Quite simply, it’s the SfEP’s biggest professional and social event of the year.
  2. It’s the first-ever joint conference to be held with the Society of Indexers, which means new faces and more networking opportunities.
  3. It’s taking place in the tranquil surroundings of Derwent College at the University of York.

    Derwent college

    Derwent College, University of York

  4. If you’d like to see more of this beautiful and historic city, you can take a pre-conference literary tour of York. (Requires separate booking.)
  5. Attending the conference is an unrivalled CPD opportunity. There are over 30 sessions to choose from, covering a diverse range of subjects and interests, from editing academic journals to understanding the self-publishing process, and from the ethics of proofreading dissertations and theses to financial planning and honing your presentation skills.
  6. You can attend one of the pre-conference workshops on Cindex, Macrex, PerfectIt or Edifix. (Requires separate booking.)
  7. The AGM, at the start of the conference, is a valuable chance to find out more about how the Society is run, and have your say.
  8. There is a range of international speakers booked, from the US, Canada, the Netherlands and Australia as well as all over the UK.
  9. You’ll meet up with old friends, or people you’ve only met previously online – or make completely new acquaintances.
  10. For freelancers, it’s a great time to network with colleagues and potential clients; for corporate subscribers, it’s a chance to find freelance talent.
  11. There’s the chance to get dressed up (if you like) at the Gala Dinner. When else do freelancers get to wear posh frocks and suits?
  12. For that matter, for some of us it might be a chance simply to get dressed, if our popular image is to be believed …
  13. David Crystal (honorary vice-president of the SfEP) is giving the after-dinner speech, which is sure to be a treat.
  14. You don’t have to do the cooking or washing up for a few days!
  15. Experience the joy of finding yourself in the company of so many other people who understand the importance (and use) of the semicolon. This is truly a rare thing.
  16. Expect a fascinating Whitcombe Lecture from John Thompson (a founder of Polity Press, Professor of Sociology at the University of Cambridge and author), who will consider how the publishing industry is adapting to change.
  17. Earn points towards upgrading your membership of the SfEP.
  18. If you’re a first-timer, take the chance to grill meet the current SfEP council over drinks on the first night.
  19. Breakout events such as the Tweetup and the exhibitors’ fair provide a range of things to do between sessions.
  20. On the last afternoon, attend the ‘Crystal ball’ panel session, and put your questions to six publishing experts: Alison Baverstock, Allyson Latta, Sam Leith, Peter McKay, Kate Mertes and Lynn West.
  21. The closing lecture, by Eben Muse (Researcher in Digital Media at Bangor University), promises an intriguing look at how readers are adapting to change, and the future of reading itself.
  22. Make the most of your time away and attend the SfEP’s pre-conference course, Introduction to fiction editing. (Requires separate booking.)
  23. As well as your fellow editors, you can meet the lovely staff from our offices in Putney, who keep the SfEP running smoothly all year round.
  24. Try your luck in the raffle, with a range of fantastic prizes on offer, including a handmade book by session leader Paul Johnson.
  25. Be amazed at how revived and enthused you feel after a few days away from your desk. There’s nothing like it for rekindling your love of editing!
  26. Finally, there’s still time to make the most of the early-bird discount if you book now – until Friday 24 April.

We hope to see you there!

Liz Jones SfEP marketing and PR director

 

Liz Jones is the SfEP’s PR and marketing director.

 

 

Why should I train?

SfEP logoGood-quality training is an investment, and whether you’re just starting out and trying to figure out how to spend a limited budget, or you’ve been working for a while, it can be hard to know what you need. You might even question whether you need it at all.

Here are some reasons why editorial training is essential, though – whatever stage you are at in your career.

I learnt on the job, and my clients are happy. Why should I bother?

Perhaps you worked in-house before going freelance, or you built your freelance business from scratch with a natural aptitude and a handful of reference books. You may reach a point where you’re producing work that is consistently good enough for a few repeat clients. Everyone’s happy.

But ask yourself honestly – would you have the confidence and the skills to move outside your comfort zone? The chances are there’s plenty you don’t know. (You might not even realise you don’t know it!) Good-quality editorial training will cover a range of material, giving you the knowledge you need to tackle more diverse work.

Even on more familiar ground, sooner or later you will come across a really intractable problem. (If you have not yet done so, you’ve been lucky.) Extra skills will help you define more accurately what the problem is, and that’s a crucial step towards solving it.

I’m not interested in working in academic publishing, so will the training be relevant?

These days, plenty of editors don’t work for traditional publishers. They may work for businesses, charities, government departments, self-publishers, students … and the list goes on. They probably work exclusively on screen. Yet quite a lot of editorial training starts with the skills required to work for publishers – sometimes even on paper. So is this kind of training more widely applicable?

The answer is that it is. You never know when a client will ask you to work on hard copy (so those proofreading marks needn’t be wasted). Another point to consider is that academic publishing probably encompasses more of the conventions of editorial work than any other genre. Even if you don’t use all the principles all the time in your everyday work, you’ll have the tools at your disposal when you do need them.

I’ve got plenty of clients without needing to demonstrate any professional affiliation; will training be a waste of money?

One argument for basic training, or continued professional development (CPD) later on, is that it can help you upgrade your membership of professional associations. For example, to become an Intermediate, Professional or Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), you will need to show evidence of experience and training.

If you’ve got enough work already, you might question the need to go down this route. Your clients know what you can do already, after all. The first rule of freelancing, though, is not to depend on one client for all your work – or even two or three. This is because companies are taken over or go out of business, move their editorial work offshore or change their business model or way of working. The way to build a sustainable business is to have a range of clients – and one way to appeal to them is to show, through your professional credentials, that you are committed to training and CPD. Training may mean a financial outlay now, but look on it as insuring yourself against dry spells in future.

If I need to know something I look it up online, or ask a colleague. Do I still need extra training?

These ways of finding things out are extremely useful (the SfEP forums are considered by many to be one of the main benefits of membership). However, they are best for fixing specific problems. Training gives you a broader grounding, and you’ll know better what questions to ask to improve your practice further.

Remember that technology changes rapidly, too. If the first you hear about this is when your main client sends a form email about ‘improved workflow processes’, you’ll have to scramble to catch up; all of a sudden your hourly rate will plummet. Training can help you see the big picture and stay ahead of the game.

I’m too busy to train. Why should I take time out of paid work to do it?

You’re established, you’re getting plenty of work most of the time, and you can get through it quickly enough to earn what you need. However, you may be surprised at how much efficiency you can introduce to your practice simply by picking up new skills. It could make quite a difference to your hourly rate, for example (or simply save you having to do lots of very repetitive and boring things). You could find you very quickly make up for any time you felt you ‘lost’ to training.

I can keep my skills up to date through my work, so training is unnecessary, isn’t it?

It’s true that learning on the job is a vital part of successful editorial freelancing, and the SfEP believes that this is as important as training, which is why you will also need experience to upgrade your membership.

However, training can fill in the gaps in your knowledge, however long you have been working. Just because one client wants something done a particular way, it doesn’t mean it’s the right way, or the only way. And just because you have your own trusted approaches to various tasks, it doesn’t mean they can’t be improved. Editorial training should be something you return to throughout your career.

You can find out more about the training offered by the SfEP in the training section of our website.

Liz Jones SfEP marketing and PR directorLiz Jones is the SfEP marketing and PR director.

 

Proofread by SfEP entry-level member Karen Pickavance.