Tag Archives: proofreading

Five reasons I’m a fan of the Judith Butcher Award

Nominations are now being sought for this year’s Judith Butcher Award (JBA), but what’s it all about? OK – cards on the table: I was the proud recipient of the JBA in 2013 for my work on social media. Perhaps that means I’m slightly biased. But it also means that I can give you a very personal take on this annual celebration of exceptional contributions to the community that is the SfEP.

Official recognition

I was proud to have my efforts officially recognised, epecially as it meant that my name would appear in the same sentence as Judith Butcher’s!

I joined the SfEP in 1997, but it was only when I became a marketing and PR volunteer in 2009 that I really started to appreciate just how much valuable work goes on behind the scenes, and how much the Society’s volunteers contribute to the running of the organisation. When I became a director in 2010, I relied on the help of such individuals, particularly when our social media activities started to expand and we needed a team of people to keep the show running.

The fact that I’d seen how much work went on behind the SfEP scenes made me all the more pleased to have this official recognition.

Nominated by peers

One aspect of the award that makes it very special is that nominations come from one’s colleagues within the Society.

Although many of the people who are involved in running the SfEP do so out of sight of most of their fellow members, I’m sure we can all think of individuals who’ve contributed, perhaps on the forums, on a particular project, in our local group or in a more public sphere.

I can tell you that having one’s efforts noticed and appreciated by colleagues is a very lovely feeling indeed, and I’d encourage everyone to think hard to see if they can call to mind someone who’s impressed them and ought to be recognised.

Social media

In the past, not all members saw the value in the SfEP being involved in social media, so I was really pleased that my JBA was awarded ‘for significantly raising the national and international profile of the SfEP, and the work of editors and proofreaders in general’ through my voluntary work on social media.

I believe social media has played a significant role in promoting the SfEP, and it was heartening that the JBA recognised this.

Team effort

When I was awarded the JBA, I felt that it was a reflection of the efforts of all those who had contributed behind the scenes to these activities. Although I couldn’t share the award with all those who had helped, it did make me appreciate their support, dedication and commitment. I really couldn’t have done it without them.

Book token

And now I have a confession to make: for many years I didn’t actually have my own copy of Butcher’s Copy-editing. I know, right? So when I won the JBA I decided to use the book token prize to buy myself a copy. It just seemed like the right thing to do (and it is an invaluable resource).

So please do get your thinking cap on and consider nominating someone who has:

  • made a clearly identifiable and valuable difference to the way the SfEP is run, and/or
  • carried through a specific project that has been of particular value to the SfEP and/or its members.

See the full rules here, but note that this year the timetable will differ from the one described on our website. Please email nominations to jba@sfep.org.uk by 12 noon on Friday 5 May 2017.

 

Helen Stevens has been a freelance proofreader, editor and copywriter for over 20 years, and now specialises in academic and non-fiction editing. She enjoys playing Scrabble and walking, though not at the same time. Saltaire Editorial Services

 

 

 

Posted by Tracey Roberts, SfEP blog coordinator

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

A look at editing romance novels

Romance novels get a bad rap sometimes. They are often viewed as being less deserving of praise – and more deserving of being classed a ‘guilty pleasure’ – than literary fiction or other genres such as crime or science fiction. But I’m an unabashed lover of romance novels and not in the least bit guilty about it. And that love spills over into my professional life, where it’s one of my specialist fields as a fiction editor.

Editing romantic fiction is, in many ways, like editing any book. It’s just as worthy an endeavour as editing literary fiction, and romance novels are just as deserving of good editing as any other book (and believe me, romance readers have extremely high expectations and standards and can be vociferous when something doesn’t meet with their approval). You have the same concerns about consistency, correctness, clarity, and all the other Cs to look out for. But romance novels also have their own set of quirks and genre expectations.

What makes a romance novel?

In order to edit a romance novel, an editor must first understand what a romance novel is and what it is not. It might seem obvious, but a romance novel is not just a piece of writing that contains romantic elements.

A romance novel – as a piece of genre fiction – must have a happy ending to be classed as such (or, as the Romance Writers of America put it, an “emotionally satisfying and optimistic ending”). Tales of woe where the protagonist dies of some dreadful disease and his soulmate is unable to go on and leaps off a cliff are not romance novels. They may be novels with romantic elements, but they are not, strictly speaking, romance novels. And advertised as such, they can create a quite surprising level of anger and annoyance from readers who have sat down to enjoy a feel-good romance and have been left bereft and confused.

Most romance novels are character-driven as opposed to plot-driven. That means that characters’ interactions with each other and their journey and development are the primary focus of the novel. Compare this with adventure novels, which are usually plot-driven; while there may be elements of character development, the main focus is the twists and turns of the storyline. Romance novels are sometimes criticised for their lack of imagination or formulaic storylines, but the relationships between characters are the real heart of the story.

The big picture: characters and their development

When editing a character-driven story, it’s vital to focus on the believability of the characters and their development. If you’re coming in at a developmental or evaluation stage as opposed to a later copy-editing/proofreading stage, this is where you need to focus your efforts. Are the characters likeable? Are their flaws believable and not too drastic? For example, a bad boy who comes to the defence of the protagonist in a bar fight is fine, but one who beats up the protagonist or cheats on her time and time again? Not fine, and readers will swiftly put the book down, never to return. Is their romance believable? A writer can get away with stretching the boundaries of believability slightly, but readers will be turned off by something that is so far outside the realms of possibility it becomes ridiculous.

What’s the conflict and is it strong enough? Conflict is what drives a novel. Two people meeting and falling in love, with no barrier or obstacles, is not a story. There needs to be something stopping them being together which drives their actions, such as a jealous ex-boyfriend, a protagonist who has vowed never to fall in love again, or the time-honoured favourite of romance novels – the secret baby. When you’re editing a romance novel at a more conceptual stage, these are the big questions you need to ask and examine.

Details: dialogue and consistency

When you reach the copy-editing stage, I’d recommend looking closely at dialogue. Dialogue is super important in romance novels. Sometimes there isn’t a great deal of action going on, so it’s imperative that the dialogue is sparkling enough to carry the story and keep readers’ attention. Romance also suffers from some slightly odd dialogue tags sometimes, and you’ll face a balancing act of changing the most egregious ones (people ‘grinding out’ sentences, perhaps) and leaving some of the others. At times, romance novels almost have their own language, and it’s worth familiarising yourself with it before making sweeping changes. At all times, make sure the dialogue is natural and that there’s enough back and forth between characters. Long soliloquies rarely work. Readers want conversations, not monologues.

Pay close attention to things like changing eye colour and hair colour. These things are usually mentioned quite regularly throughout a romance novel, and you would be amazed how many times someone’s appearance changes over the course of the book. Also, keep an eye out for things like contraception not being mentioned or considered by the characters – modern readers expect things like this to be discussed or at least referred to. Sex scenes in general often require careful editing as many authors struggle to write these – and many editors just skip over them or don’t give them the attention they deserve. Editing romance novels means you sometimes have to put your embarrassment to one side and write some quite unusual author queries from time to time!

Keep careful notes of character backstory. Backstory can often be of immense importance (something the protagonist did ten years ago can come back to haunt her later, for example) and it’s important to make sure it’s consistent. Consider keeping a timeline if there’s a lot of going back and forth. That will also iron out issues such as people going to work for seven days in a row or children going to school on a Saturday.

And if you’re editing a historical romance novel, make sure your author has done their research. Historical romances can be great fun to edit, but one written without proper research can quickly turn into a time sink while you check whether words, phrases, and even concepts were commonplace at the time the book was written.

Katherine TrailKatherine Trail is a former newspaper chief sub-editor who now specialises in fiction. She lives in Aberdeen, and when she isn’t editing she can usually be found tramping through the wilderness with her spaniel, Daisy. KT Editing Services

More than friendly faces

Member Kathrin Luddecke highlights the benefits of attending the SfEP Oxford local group and the value of being able to ‘try before you buy’.

Pondering

When I was thinking about proofreading, and possibly copy-editing, as a career option, I started – as one does these days – with an internet search. Up popped the Society for Editors and Proofreaders’ website, including a very useful ‘Test yourself’ feature for anyone who, like me, fancies themselves as a potential ‘pro’.

Reassured by a decent result, while also giving me an idea that of course there was room for improvement (and a hint at the usefulness of specialisms!), I decided to look into the option further. I found a number of helpful guides on the SfEP site, but I was particularly interested in a chance to find out more about what editing is actually like from people already in the profession.

Trialling

So it was great news to come across the SfEP’s ‘Networking’ section – and even better to find out that there are local groups, run by members on a voluntary basis, across the UK and indeed further afield. As a (potential) ‘newbie’, it was brilliant to read that I could go to up to three meetings before deciding if the career, and membership of the Society, was for me.

It can be a bit daunting, of course, to go along to a meeting of what is a group of complete strangers. Luckily, I quite enjoy getting to know new people, so I set out to say hello to members of the Oxford Group. Again, it was really easy to contact the volunteer coordinator (at that time, Robert Bullard) through the information on the Group’s page, just to check it would be okay for me to come. He kindly said yes, and off I went to the Kings Arms.

An SfEP Oxford group meeting

Meetings of our group are on a weekday morning, rotating through the week, to suit different working patterns and other commitments people may have. It seems to work well for Oxford members, as I found a room full of a dozen or so people, with a nice buzz. Over our drinks – as a group, we seem to have a predilection for cappuccinos – introductions were made. Of course I couldn’t remember everyone’s names (I do now!), but I felt immediately at home, among people who cared about spelling, grammar, choice of words, and who were friendly and welcoming to boot.

Then the business commenced, looking at identifying priorities for training to be put on for us freelancers with the support of the Oxfordshire Publishing Group. It all sounded very exciting and it was great to find the local SfEP group linked into wider publishing networks. I also found it terribly useful to hear about the different areas in which people were working – a lot of academic publishing (this being Oxford), but also educational and more business-oriented. Quite a few people had been in the profession for a long time and were clearly very busy and in demand, while others were new and still looking for work.

Joining

After that initial get-together, I went to one more meeting, starting to remember names as well as faces, then made up my mind to go ahead and join the Society. I knew by that time that I had much more to learn to become a professional proofreader and then, perhaps, editor, so signed up for the SfEP’s ‘Proofreading Progress’ course – having made sure this was the right level for me to start at. It wasn’t as easy as I had secretly hoped, but that meant I was properly challenged and learned lots!

While taking the course was excellent and really helped me develop best practice, learning about mark-up and more, it was the friendly exchanges with others in the local group, the chance to swap experiences, ask questions and share frustrations (especially with trying to find a way onto publishers’ freelance lists, which can take some time, and tests, of course) that made all the difference to me wanting to keep going. There’s nothing quite like mutual support!

Coda

To me, being a member of our local group is one of the best things about the Society for Editors and Proofreaders. I feel that even more strongly having spent just over a year acting as the Oxford group’s lead coordinator, supported by Sally Rigg and Piers Cardon. It was not too difficult a job, with others helping to put together a series of training and more informal networking sessions over the year – from an accountant to marking up PDFs, from editing in Word to marketing.

Luckily, with all the support, I had enough time left both to start taking on work and to get into editing, starting with the SfEP’s ‘Copy-editing Progress’ course. And while I have just handed over the lead coordinator’s role for the Oxford Group to Lesley Wyldbore, I will definitely keep going to our meetings! I can thoroughly recommend getting to know, and helping out with, your local group, wherever you are. In between meetings, the SfEP’s online local group forum is a great way to keep in touch, continue conversations and stay up to date with what’s up.

Kathrin LuddeckeKathrin Luddecke has a background in Classics, a passion for translating and editing and a love of art. She has lived, studied and worked in Oxford for half her life and is enjoying the freedoms – and challenges – of having gone freelance in 2014. Find out more on Kat’s (rather intermittent!) blog or follow her on @KathrinLuddecke.

 

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

Mediterranean Editors and Translators: All About Editing

First, a bit about me

As a ‘re-emerging’ translator, I have been attending METM conferences as another stop on the road to reconnecting with a profession I fell into years ago and laid aside due to personal circumstances. As a bit of an outlier, I justify my presence by moderating the ‘off-METM’ Translation Slam. A few weeks before the conference, I sent two ‘volunteer’ MET members a short text to translate from Spanish to English, and during the slam we discussed the choices they made (word choices, but also punctuation choices!). I mention this as it has a great deal to do with my experience of the METM16 conference, which this year was all about editing.

Wait, what is MET?

MET (Mediterranean Editors and Translators) is an association of translators and editors whose main language is English, whose objective is peer training, and whose founders thought Mediterranean sounded sexier than European.

Based in Barcelona, MET holds workshops two or three times a year, but the big bash is the annual conference in mid-to-late October. Following an afternoon and morning of workshops as warm-up, the day-and-a-half-long conference is filled with panel discussions, lectures, interactive sessions, and presentations set two or three to a timeslot, except for the two keynote or plenary talks.

metm16-cloister-lunch-sfep-cescanadon

This year’s conference, ‘Raising standards through knowledge sharing and peer training’, was held at Tarragona’s Centre Tarraconense ‘el Seminari’. The cathedral-ceilinged auditorium filtered the sunlight through its stunning stained-glass windows onto keynote speakers Margaret Cargill, in from Australia, and Mary Norris, the New Yorker’s ‘Comma Queen’. Jealous yet?

Workshops and conference sessions

As I said, it was all about editing for me this year. I attended Joy Burrough-Boenisch’s fantastic three-hour Friday-morning workshop, Editing theses and dissertations written by non-native speakers of English, where I also learned about a series of online proofreading and editing guidelines. In the afternoon, John Linnegar taught me the difference between light, medium, and heavy editing; I was impressed by Kate McIntyre and Jackie Senior’s work as in-house academic editors in the Netherlands (and also made a note to look at SENSE’s guidelines); and Valerie Matarese talked about author editing. After a panel discussion on interventionism as an editor/proofreader of academic papers, I learned about ITI from Sarah Griffin-Mason, about the social science genre from Susan M DiGiacomo, about translating and editing titles from Mary Ellen Kerans, misused English in EU publications from Jeremy Gardner, and disability-related terms from Mary Fons i Fleming.

Keynote talks

Friday evening, just before the Clos Montblanc-catered wine reception in the cloister, Margaret Cargill shared with us her studied understanding of ethics and education in academic publishing in relation to editing and translating. The issue of what constitutes teaching, and where the line is drawn at what my professors used to call cheating, are hot topics. Times change, technologies change, the world is changing, and we professionals must keep abreast of how these changes affect the way that we work, whether our field is in academics or technology, business or fiction.

Right before Saturday’s cocktail lunch, also in the cloister, Mary Norris held us captive during her keynote talk, ‘New Yorker style: the major arcana’. Using a few New Yorker cartoons and a piece of fiction, Mary led us through the process of query-editing copy to the characteristically peculiar standards of the famous magazine. She even gave us an example or two of times when she clashed with the ‘artistic vision’ of certain authors. Sometimes she wins, sometimes she loses, she confessed, but she never seems to lose her good cheer or her enthusiasm. What a pleasure it was to have her at the conference, and it was an added pleasure to have both Margaret and Mary among the Sunday-morning post-conference diehards who took a stroll along Tarragona’s Roman amphitheater and beachfront to El Serrallo and a final vermouth among colleagues and friends.

But getting back to me

It turns out that what is showcased in every translation slam – the infinite ways in which a given translation can be resolved – is also true when editing text. The ethics involved in translating a 150-year-old Spanish text into the English of 2016 are as complex as those of editing a non-native-English speaker’s PhD thesis, even though the possible consequences may not be as dire.

Happily, the eternal question remains: How far can you stretch the truth of the original text to make it fit into ‘proper’ English? And what is proper English, anyway? I’m hoping to attend a few more sessions on this very subject a year from now in Brescia, Italy. #METM17

kymm1Born in Boston, Kymm Coveney has lived in Spain since the 1982 World Cup. A former commercial translator, she is currently transitioning to literature (Catalan/Spanish/English). Meanwhile, accounting pays the bills.

Links to poetry, flash fiction and translations are at BetterLies. Glasgow Review of Books showcases her latest poetic translation. She tweets mostly about poetry @KymmInBarcelona.

Photo credit: Cesc Anadón, MET

Posted by Tracey Roberts, SfEP blog coordinator.

Proofread by SfEP Professional Member Tom Hawking.

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

Tips for proofreading children’s books

In many ways, proofreading books for children isn’t that different from proofreading any other material … but there are a few extra things to look out for, especially in highly illustrated titles.

betty-nudlerMind the flaps!

Many children’s books, especially non-fiction titles, feature interactive elements such as flaps, pop-ups, stickers and activities. If you’re proofreading on screen, you’ll see the pages in two-dimensional form, but be aware that you might need to consider how different elements of the book would work together in real life. (Would the outline provided fold up into a model of a robot? Are there really 10,000 stickers, as claimed on the cover?) You won’t necessarily need to print things out to get the job done, but you might need to sense-check activities, cross-reference different parts of the product, or count particular elements (all 10,000 of them). Make sure you factor this in to the time you allow to proofread the book, even if the word count is tiny, and consider using a second screen if you don’t already, to speed up the work and increase your accuracy.

When is a book not a book?

When it’s an ebook or an app – both popular formats for children’s books, and with a different set of considerations from physical books. You might be asked to check how a highly illustrated layout transfers to ebook format, for example, possibly with reflowable text. Are all the elements still there, in a sensible order?

With ebooks and apps, you’ll need to find the most sensible way of returning comments, which might not take the form of a more traditional mark-up, but could instead be a list of corrections. With apps you’ll need to make sure you’ve checked and clearly recorded corrections to all the places where text appears – which might not be easy to deal with in a linear way.

childrens-book-week-liz-2Less can be more … when it comes to mistakes

In some ways, children’s books seem too easy. In books for younger readers in particular, you might have as few as twenty words. (Your per-thousand word rate is likely to be reassuringly astronomical!) However, the lack of text can be almost intimidating. Any remaining mistakes have nowhere to hide, and will come back to haunt you for all eternity … or until the books are pulped. Make triply certain that the title on the spine matches the title on the cover and on the title page, for example. Surprisingly often, it doesn’t.

 

Reading order

In boring old adult books, usually you start reading at the top left of a page, and keep plugging away until you get to the bottom right, and then start the process all over again. This isn’t necessarily so in children’s books, where layouts can be considerably more dynamic, with smaller blocks of text arranged across the page or spread, integrated with the pictures, and interspersed with smaller text elements such as boxes, captions and annotations. Pay attention to the reading order of the different elements – it needs to be logical. Sometimes, captions will be the only part that is read, so these need to stand alone. They should work hard, add value to the picture they refer to, and not simply repeat part of the main body text. It seems obvious, but it’s easily overlooked: annotations need to refer to the part of a picture they are pointing to.

Consider the reader

Whatever we edit or proofread, we need to consider the intended reader. But with children as the audience, there are extra considerations. Is the text legible? Are the fonts used appropriate? Although by the time you are proofreading, basic decisions such as font choice will have been made long ago in the process, you might still find instances where things need to be tweaked to help a young readership. Also look out for words, especially technical terms or jargon, that don’t fit the reading age or need to be explained where they appear.

Diversity and inclusion

Children’s publishers often have guidelines for authors and editors on inclusion and diversity. Although these aspects should be considered from the outset of a project – or rather, as this article argues, a book should ‘be diverse without diversity being its selling point’ – it’s still an important aspect of children’s publishing for proofreaders and copy-editors to be aware of.

children-book-week-liz-1Don’t neglect the pictures

You might think of yourself as a word person, but in many children’s books, much of the sense comes from the pictures, so you must pay as much attention to them as to the text. If the text describes something shown in a picture, such as a colour, does the picture reflect that? If the pictures show a step-by-step process, are they in the right order? Many children’s books are commissioned in the knowledge that they will be co-editions, or sold into a range of territories. Often you will need to look out for parochial details in the images that could limit a book’s marketability, such as obviously right-hand-drive cars, or very British-looking police uniforms.

Marking up

Finally, think about the best way to mark up a highly illustrated book. Your client might have guidelines on how they want you to mark up PDFs, but remember that marks can easily be overlooked on busy, brightly coloured backgrounds. If you think a mark might be lost, draw a big box around it or highlight it with a helpful arrow. Go for maximum clarity.

photo 2016 croppedLiz Jones worked in-house for two children’s publishers between 1998 and 2005, and still proofreads children’s books alongside a range of other freelance editorial work for publishers, business clients and individuals. When not editing she writes fiction, and also blogs about editing and freelancing at Eat Sleep Edit Repeat.

 

Photo credit: Betty Nudler Creative Commons

Posted by Tracey Roberts, SfEP blog coordinator.

Proofread by SfEP Entry-Level Member Sarah Dronfield.

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

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.

Beyond the proofreader’s remit?

By Liz Jones

When proofreading materials for book and journal publishers, we are not always presented with a thorough brief and there is often a tacit understanding of what the role of the proofreader includes … and what it does not include. The SfEP sets out some commonly understood responsibilities of the proofreader and the copy-editor in the traditional publishing process. However, it’s apparent that these roles are becoming increasingly fuzzy in the academic publishing world.

Recently a discussion arose in the SfEP forums on the thorny topic of whether a proofreader should check references in an academic book as a matter of course, and exactly what that checking should entail. The original poster referred to a proofreader being expected by a client (an academic publisher) to cross-check a reference list against the in-text citations. Many experienced editors weighed in on the debate, and gradually a consensus emerged. The general understanding was that such detailed checking of references should be part of the copy-editor’s role, not the proofreader’s. In an ideal world the proofreader would then simply need to read the reference list, checking for small inconsistencies of styling or typos. Several posters said they would perform spot-checks of a few citations during such a proofread to ensure that the reference list seems to be in accord with the main body of the text. It was also pointed out that it is certainly not the proofreader’s job to check the factual accuracy of references, or even that authors’ names are spelled correctly.

work stressThe problems start when a proofreader finds (perhaps through performing spot-checks) that the references have not been properly edited, or that other errors are present, perhaps as a result of formatting. In more extreme cases the proofreader may suspect that the text and associated references have not been copy-edited at all. In this case, the proofreader is presented with a difficult choice:

  1. They can carry out the proofread as briefed and within budget, but without doing any work that might be considered beyond the remit of the proofreader. The proofreader knows that some errors are likely to remain, but decides it is not their responsibility to make the text perfect, and is not willing to reduce their hourly rate to compensate for shortcomings earlier in the publishing process.
  2. They can go beyond the standard proofreader’s remit in order to bring the book up to a publishable standard. This means the proofreader carries out a proportion of what might be considered ‘higher-level’ copy-editing work, while being paid as a proofreader. It may also entail significantly more time being spent on the job, reducing the hourly rate still further.

Neither of these solutions is ideal. As editorial professionals we tend to be hard-wired to want to help the client produce excellent work … but at the same time, as business owners we don’t want to be taken advantage of.

What should make a proofreader wary?

Sara Peacock, former chair of the SfEP, provided examples of the problems she sometimes encounters as a proofreader:

  • None of the citations cross-checked against the references list.
  • References wildly inconsistently presented, with lots of missing information.
  • Bullet lists inconsistently presented, in terms of capitalisation and punctuation.
  • Figures not correlating to text in terms of style and sometimes content, or the text referring to coloured portions when the figures are reproduced monochrome.
  • Inconsistent capitalisation in headings.
  • Lists of what is to come in the text not corresponding with the text that actually follows.

These are clearly the responsibility of the copy-editor, but as a proofreader, we do not know the reasons behind problems we may find with copy-edited text.

Experienced editor, trainer and long-standing SfEP member Melanie Thompson made the point that errors might be ‘potentially down to problems of the files not being imported correctly (tracked changes carrying across by mistake) … Could the author have been given back the [copy-edited] file and undone a lot of the good work? And then of course there’s the possibility that the publisher/client never had the material copy-edited in the first place …’

Veteran editor and SfEP member Kathleen Lyle pointed out that ‘one problem is that things can happen to the references in the gap between copy-editing and proofreading – for example, an author may decide to add some new references to bring a chapter up to date. Depending on the publisher’s workflow this new material may be dealt with in-house and not be seen by the copy-editor; this could well cause discrepancies of style or content between text and list. As a proofreader I’d expect to pick up discrepancies of style in the text or list, and cross-check any strange-looking items.’

From these comments alone it is clear that text may appear badly edited for a number of reasons, including lack of time and budget, or technical glitches. There is also the possibility that the copy-editor lacked training, or tried to get away with providing substandard work due to other pressures. It is also a fact that many in-house editors and project managers are very pushed for time and may not be able to closely monitor and assess the work of all their suppliers on every job. (I say this as a former in-house editor.)

What can we do?

If we find ourselves presented with poorly edited text as a proofreader, there is a third way (beyond the stark dilemma presented above).

First, we can establish the brief. Gillian Clarke, trainer to many editors over several decades via the SfEP and the PTC, said simply that ‘it is hugely important to establish from the very beginning exactly what the client wants’. This can help at whatever stage in the process we are working. If the client hasn’t provided a clear brief, consider sending them your own checklist of tasks covered by proofreading (and not).

Assuming that the brief is clear, you can then try the following if presented with text from a publisher that needs a lot more attention than a straightforward proofread.

  • Assess the work: Does the budget cover what you need to do? Is it within your capabilities in the time allowed? If the answer to these questions is yes, and the job is fairly self-contained, you might decide in that case simply to get on with it and provide feedback for the publisher along with delivery of the completed work.
  • Raise the issue: If the budget and schedule do not allow for satisfactory completion of the job, or if you feel the work goes beyond what you are comfortable doing – in short, if there is any reason why you think a job is not possible within the given parameters – tell the client straight away, and wait for their response before proceeding. If they don’t answer first time, try again – this is important.
  • Ask for more money/time: If the client can offer more of either or both, the issue might be resolved in the short term, enabling you to complete the job.
  • Adopt a pragmatic attitude: If the client will not budge on money or the schedule, and you decide to proceed with the work, be strict with yourself about what you can and can’t do with the available resources, make sure the client is aware of this, do the job and move on.

However you deal with the job, you should make it clear in your handover notes to the client what the editorial shortcomings were when the project reached you, and what you had to do as a result. Be clear and matter-of-fact about the ways in which you needed to go above and beyond in order to complete your work, without making assumptions or personal attacks. You need to do this because the client might otherwise remain unaware of the issue. However, you don’t need to start telling them what to do with this information.

Questioning clients and (re)negotiating rates can be daunting, especially for newer proofreaders and editors. It’s also tempting for proofreaders just starting out to go above and beyond to try to impress new clients and secure future work. This is where discussion in the SfEP forums, on other online platforms or with your local group can help enormously.

Summary

This really all boils down to the simple question of whether the proofreader should have to compensate for inadequate copy-editing. It’s the client’s budget or yours – something has to give.

However, it also has wider implications for our industry, perhaps most pressingly in the academic publishing sector. A lack of investment in careful editing by trained professionals may help publishers balance the books in the short term, but the eventual outcome will surely be a drop in the overall quality of output, and a growing reluctance among the more experienced proofreaders to work for certain clients at all, which would surely be much more detrimental in the long term.

Next controversial topic: how far should a proofreader go in checking an index …?

Liz JonesLiz Jones (www.ljed.co.uk) has worked as an editor in the publishing industry since 1998, and has been freelance since 2008. She specialises in trade non-fiction and educational publishing, and is an Advanced Professional Member of the SfEP.

 

 

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

7 questions to consider when naming your editorial business

photo (2)One of the most important decisions you’ll make when starting any new venture is what you should call your new business. Here are seven questions that will help you come up with the perfect name for your editorial business.

1. Should I use my own name?

If you are already well established in your editorial career, it can be helpful to use your own name in your business as it will help potential clients find you, particularly if they have worked with you previously. However, this doesn’t work if you have a more common name. If your moniker is along the lines of John Smith, you may prefer your business name to be a little more original.

2. Should I include details of what I do?

It can be helpful to outline your services as part of your business name, but be careful not to box yourself in. While ‘X Proofreading’ may be a perfect description of your business offering today, next year, after you’ve expanded into copy-editing or developmental editing, you may find that the proofreading part of your business name restricts you.

3. Is my proposed business name easy to pronounce and spell?

Picture the scene: You’ve met a really promising contact and exchanged business cards; a week later your new contact wants to get in touch. Unfortunately, they’ve mislaid your contact details, but that’s not a problem because they remember your business name. A simple internet search should yield your phone number or email address. Except when they type in what they remember as the name of your business, they spell it differently. Or maybe they have seen your business name written down and they are recommending you to a colleague, but they pronounce the name of your business as they remember hearing it, not as it is actually spelt, so they can’t find you. You’ve lost out on potentially valuable business. So keep your business name simple and avoid homonyms or puns that could confuse potential clients when they try to find you. Moreover, slightly odd spellings could be seen as detrimental when you are trading as someone who specialises in catching typos.

4. What is my story?

If you decide not to use your own name, don’t just think about the services you offer, think about your story. Is there a particularly original path you took that brought you to this career? Could your business name hint at your story? An added bonus is that this will give you something to talk about when you first introduce your business to prospective clients.

5. Is geography important to me?

Perhaps you have a local landmark or heritage that you’d like to reference in your name. Or would you rather not tie yourself to a particular region? Remember to think about the future as well as the present. If you are likely to relocate, would this impact on your business if your name is linked to a particular locale?

6. Are there any other businesses already using my proposed name?

You’ve come up with the perfect name; it’s so original no one else could have come up with it — never assume this is the case. Always search on the internet first. Google your ideal name and see what comes up. Then check the common domain name providers to see if the address is available. And don’t forget to search across social media platforms, such as Facebook and Twitter, to see if other organisations or individuals are already using your proposed name. The last thing you want is to buy your web address and then discover that someone is already using your business name on Twitter, particularly if they are in a less salubrious line of business!

7. What do friends and family think of my name?

Test out your proposed business name on friends, family, colleagues, or even the Society for Editors and Proofreaders (SfEP) forums. What does the name say to people? Is there anything about your business name they can spot that you didn’t notice? For example, do the initials spell out an unfortunate acronym?

Are there any hints or tips you would add to this list? How did you come up with your business name?

Joanna BoweryJoanna Bowery is the SfEP social media manager. As well as looking after the SfEP’s Facebook, Twitter and LinkedIn accounts and the SfEP blog, she offers freelance marketing, PR, writing and proofreading services as Cosmic Frog. Jo is an entry-level member of the SfEP and a Chartered Marketer. She is active on Facebook, Twitter, LinkedIn and Google+.

Proofread by SfEP entry-level member Alex Matthews.

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

Full circle? Why the SfEP and the SI are uniting to hold their first joint conference

Derwent College University of YorkBookings for the Society for Editors and Proofreaders’ (SfEP) first joint conference with the Society of Indexers (SI) are now open. So why have we joined forces with the SI? And what can delegates expect from this year’s event?

Although this is the first SfEP and SI joint conference, the two organisations share historical links thanks to an SI conference back in 1988. It was at this event that Norma Whitcombe, the SfEP’s founder, asked for help in setting up an organisation similar to the SI, but aimed at freelance editors and proofreaders. This led to the establishment of the Society of Freelance Editors and Proofreaders (renamed in 2001 as the Society for Editors and Proofreaders to reflect the fact that it is also open to in-house members) later that year.

Since then, the SfEP and the SI have maintained close ties. The two organisations even shared offices and an administrator in the 1990s, and some members who belong to both societies.

So it is apt that the theme of the first joint SfEP and SI conference, which takes place from 5–7 September at Derwent College at the University of York, is ‘Collaborate and innovate’.

Joining forces enables both organisations to offer a rich and varied conference programme including plenty of opportunities to network with other editors, proofreaders and indexers. There will be a wide range of workshops and seminars on a range of topics, including an introduction to Word, book art and its role in developing literacy, indexing for editors, and the challenges and ethics of editing students’ theses and dissertations.

Highlights include the Whitcombe lecture by John Thompson, a founder of Polity Press, Professor of Sociology at the University of Cambridge and author of Merchants of Culture: The Publishing Business in the Twenty-First Century, and an after dinner speech by linguist, editor and indexer (and honorary vice-president of the SfEP) David Crystal.

Previous SfEP conference delegates have always commented on the friendliness of colleagues attending the conference and have mentioned that the events offer something for everyone ‘whether seasoned veteran or someone just starting out on a freelance editing career’. Others have even gained new clients!

So, if you’ve not yet booked your conference place, what are you waiting for? There’s an early bird discount if you book your tickets before 17 April 2015.

What are you most looking forward to at this year’s conference?

Joanna BoweryJoanna Bowery is the SfEP social media manager. As well as looking after the SfEP’s Facebook, Twitter and LinkedIn accounts and the SfEP blog, she offers freelance marketing, PR, writing and proofreading services as Cosmic Frog. Jo is an entry-level member of the SfEP and a Chartered Marketer. She is active on Facebook, Twitter, LinkedIn and Google+.

Proofread by SfEP entry-level member Patric Toms.

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

Round-up of the ten most popular SfEP social media posts in February

SfEP logoSocial media moves very quickly, and the Society for Editors and Proofreaders (SfEP) Facebook, Twitter and LinkedIn feeds are no different. So, to ensure you don’t miss out, here’s a summary of our ten most popular posts in February:

  1. 33 signs that were vandalised with the most hilarious responses ever. Pulptastic. (Posted on Facebook 20 February.)
  2. The wonderful names Chinese tourists have given British attractions. i100 from The Independent reported on the results of a campaign that asked people on China’s most popular social media sites to come up with names for 101 British attractions. (Posted on Facebook and Twitter 19 February.)
  3. Happy Friday – Is there a copy-editor on board? SfEP (Posted on Facebook 6 February.)
  4. Ten things people once complained would ruin the English language. From the io9 blog. (Posted on Facebook and Twitter 9 February.)
  5. Why reading and writing on paper can be better for your brain. The Guardian reports that reading from a hard copy improves concentration and that taking longhand notes rather typing onto laptops increases conceptual understanding and retention. (Posted on Facebook 25 February and Twitter 26 February.)
  6. 40 brilliant idioms that simply can’t be translated literally. Volunteers from the TED Open Translation Project share their favourite idioms from their mother tongue and how they translate literally. (Posted on Facebook 12 February and Twitter 13 February.)
  7. Editor confession: the things I hide from writers. A contributor to the copyediting.com blog admits to hiding some things from writers when editing their work. (Posted on Twitter 20 February.)
  8. When in Rome… read some place name idioms. The Oxford Dictionaries blog explores the reasons why some locations become proverbial. (Posted on Twitter 24 February.)
  9. Language and words in the news – 21 February. The Macmillan Dictionary blog shares a list of popular links related to language and words in the news. (Posted on Twitter 24 February.)
  10. Anybody can be a proofreader, can’t they? A link to the SfEP self-test in proofreading proved popular in February. (Posted on Twitter 9 February.)

Joanna BoweryJoanna Bowery is the SfEP social media manager. As well as looking after the SfEP’s Facebook, Twitter and LinkedIn accounts and the SfEP blog, she offers freelance marketing, PR, writing and proofreading services as Cosmic Frog. Jo is an entry-level member of the SfEP and a Chartered Marketer. She is active on Facebook, Twitter, LinkedIn and Google+.

Proofread by SfEP entry-level member Anna Black.

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