Category Archives: Advice

Forum matters: Finding work

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

The topic of finding work is one that arises frequently wherever editorial professionals chat, and CIEP forums are no exception. Whether they are new to the field or are more experienced and seeking fresh opportunities, forum members often turn to other members for suggestions. And with most members needing to seek more work at some stage, everyone is usually willing to share advice and information.

Gaining experience

A recent discussion on how long it takes full-time freelance editors and proofreaders to get regular work covered lots of bases. The consensus seemed to be that building a freelance business takes time, and that it took several years for most to establish themselves in terms of a steady stream of work and adequate income.

Contributors to that discussion and others shared their experiences of how valuable word of mouth, cold calling, finding a niche, directory entries and having a website were. One mentioned the importance of local networking events, and there’s lots of information about networking within the CIEP on the CIEP website.

How someone goes about finding work may vary depending on their niche(s), but one discussion on finding academic editing work reinforced the importance of word of mouth and networking. The topic of packagers/agencies also came up in this discussion and in a more recent Newbie query, and while some editorial professionals find the rates low and turnaround times tight, they acknowledge that such work provides the opportunity to gain experience, which then attracts other clients. Several members suggested contacting faculty members and university departments who may have their own proofreading and editing needs and who may also be involved in publishing academic journals. University presses also got a mention.

Jobs in the marketplace

Members can find work in the Marketplace forum when other members post information about one-off jobs they have been offered but cannot take on. The time it takes ‘[CLOSED]’ to appear at the front of such posts is a measure of how quickly the work is taken up, so it’s a good place to check regularly in case something in your niche becomes available – before it becomes unavailable!

Members posting jobs usually take a few names of people who contact them directly and mark the post ‘[CLOSED]’ when they have enough responses. They will ask for some information – perhaps website/profile details and anything about your experience that may be relevant to the specific job. If you are the person posting the work, it’s helpful to read the pinned How to avoid post removal and Marketplace guidelines topics first.

Tests and testimonials

Sometimes members post about editing tests they have taken, or sample edits they have been asked to do. It’s worth noting that while a ‘poor’ performance in a test or sample edit may knock the confidence of a newbie, even experienced editors and proofreaders have ‘failed’ such editorial tests, and one discussion showed that while tests may match you with a potential client, one bad experience does not mean you’re a bad editor.

Keeping an up-to-date portfolio and collecting testimonials are other ways to set yourself up for finding work. In one discussion, the topic of better ways to organise a portfolio and the value of having a portfolio came up. In a discussion in the Fiction forum (which you will need to subscribe to), the value of testimonials and how they might be organised generated interesting responses.

CIEP guides and courses

Many forum members find CIEP resources helpful – directly or indirectly – in guiding them as they seek work, and some of these get a mention in the forums. One that newcomers to freelance life may find helpful is Sue Littleford’s Going Solo Toolkit and the CIEP guide Going Solo: Creating your freelance editorial business. Many other CIEP guides are useful in helping an editorial professional learn more about finding work, including Marketing Yourself: Strategies to promote your editorial business by Sara Hulse. You can find an overview of the CIEP guides here.

Finally, there’s training. Many new editors and proofreaders posting for the first time in the Newbies forum will be undertaking courses, but many experienced professionals also see courses as a vital part of their continuing professional development, making them more attractive to regular and new clients.

For up-to-date discussion about this and more, you won’t go far wrong when you network on the CIEP forums!

About the CIEP

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

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

Talking tech: Collaboration tools

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Following on from his informative piece about how we can use apps like Todoist to help us with the publishing process, Andy Coulson expands his research to collaboration tools, investigating how they can help us in finding work and integrating ourselves into project teams.

We have been working with collaboration tools for years – arguably chalkboards and flipcharts were ‘collaboration tools’. However, by using the web and cloud services, modern collaboration tools have changed and expanded this practice enormously, so you no longer need to be in the same physical space as your colleagues and/or clients. And the ability of computers to store and search information adds even more functionality to them.

Collaboration tools are an increasingly important part of remote working, allowing people to work together to share information on a common goal or project. For us freelancers, these tools allow us to become a part of the team in a way we have not been able to do as easily in the past, so learning to use them effectively as part of ongoing CPD is becoming useful for finding work – and if you come across a client who uses collaboration tools to run projects and you are already using them, then you have given yourself an advantage.

With so many of these tools about, clearly you cannot be an expert in them all – so it is important to step back and think about what job you might be using the tool for; some clients might also have preferred collaboration tools and may offer training. When I am looking at this sort of tool, I have found it useful to think about them in terms of the core job they have been built around doing. For example, Todoist is a to-do list manager at heart, but has plenty of collaborative features that would allow you to organise the workload of a team and manage information about those tasks. For the purposes of this piece, I am going to use three very broad categories: storage and editing tools; communication tools; and task and project management tools.

Storage and editing tools

Many of you will have used Microsoft’s OneDrive, Dropbox or Google Drive to store files online, but they also allow you to share those files. Google Drive takes this a step further, giving you access to a word processor, spreadsheet and presentation tool so you can work with others on a document. I’ve had a few projects where the style sheet or tracking spreadsheet has been in Google Drive and several people have been working on it in real time, so you are consistently looking at up-to-date information – one of the benefits of online collaboration tools.

One feature of Google Drive I particularly like is the suggesting mode. On a recent job, I was asked to add to the style sheet in suggesting mode as I made styling decisions. These changes then get adopted or rejected by the editorial managers. It proved to be an effective way of handling style queries.

Some of you will also have come across Microsoft’s SharePoint, which is a full document management system. SharePoint offers more advanced features than OneDrive and offers a much higher level of security to manage access and create work groups. It also allows you to create and edit directly using the cloud-based versions of the Office 365 tools and, as with Google Drive, you can edit collaboratively.

These storage and editing tools are probably the most familiar for us as editors, and the easiest to get to grips with. Most of us use Office, and will have some OneDrive storage bundled with that – so this, and by extension SharePoint, should have familiar features. Google Drive is quite user-friendly, but there is still a bit of a learning curve as you work out how to do various tasks. The systems described here are sufficiently common that there is lots of good support and guidance out there: just ask Google!

Communication tools

Many of us have grown used to a range of communication-based collaboration tools, such as Zoom and Teams, since the pandemic. These use video, voice or text and can be used between individuals or with groups. I suspect the use of these types of tools will increase for freelancers, so they are an important group of tools to get familiar with. The two examples below – Teams and Slack – are both supported well by resources online.

Teams is part of the Windows infrastructure and is integrated into Windows 11. It aims to be a ‘teamwork platform’ by linking into other Microsoft tools like 365 and Outlook, so you have one place where you are working with others. It uses channels to create structure, so for a given project you will join a particular channel. Within this you can then have access to information – such as files, folders, calendars, chat channels, video conferencing – that relate directly to the project. This ability to create project-related online environments quickly and easily is one of the reasons collaboration tools have become so popular with businesses, and why, as freelancers, we need to be willing to learn to use them.

Like Teams, Slack organises information in channels, each of which has a group of users and focuses on a project or theme. Rather than traditional email, the main communication is via a messaging channel that can support quick ‘huddle’-type meetings using audio and video, and screen and file sharing.

Task and project management tools

Finally, I have looked at applications that are focused on managing tasks or projects, allowing a team to see what needs to be done and who is doing it. Three tools that exemplify the range available are Trello, Basecamp and Asana.

Trello is a useful tool for freelancers. Like my favourite task manager, Todoist, the collaborative features do not get in the way of its task management tools. Trello uses a kanban model of organising tasks where tasks (or ‘cards’ in Trello parlance) are moved between lists – typically to do, doing, done – giving you a quick visual overview of tasks. It includes lots of useful project management features such as calendar views, and you can attach files and notes to cards. In terms of collaboration, tasks can be allocated to team members, you can track progress and you can have conversations about tasks using comments. Trello’s boards can also be used to organise individual projects and focus on particular teams. It also supports ‘Power-ups’, which are integrations with other tools (such as Google Drive) to extend the capabilities of the system.

Basecamp has a lot in common with Trello, but is built much more around supporting a team from the outset by enabling and organising communication between team members, and managing lots of projects within a small team. Each user has a dashboard that lets them see the projects they are involved with, their calendar and list of tasks. Clicking through to a project lets a user access Basecamp’s core tools: a message board (a bit like Slack’s threaded messages, focused on the project), a card table (similar to Trello’s boards, lists and cards), document and file storage space, to-dos, campfire (a space for more informal discussions and chats), and automatic check-ins (a way of quickly asking questions of a team; for example, doing quick status updates). Basecamp’s approach is built around making it easy for teams to organise their work and reducing the administrative overhead, which is what a good collaborative tool should do.

Asana offers a similar range of features to Basecamp but is focused on larger organisations. Describing itself as a ‘work management system’, it is intended to help juggle projects and routine work across a business. It has a lot of reporting features to support managers, as well as providing the Basecamp and Trello-type tools to allow individuals to organise their own work, or for a team to organise a project.

The range of collaboration tools and approaches clients take can be confusing, especially with so many available: so what do you do? I have found that although some do work well, many of them can feel very cumbersome for solely personal use. Using collaboration tools regularly, however, will help you to adapt if you are asked to use a particular tool as part of a project. Remember, though, the tools themselves build on good work habits: if you have those, then it doesn’t need too much change to adapt to using a different tool.

About Andy Coulson

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

About the CIEP

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Photo credits: header image by Christine @ wocintechchat.com on Unsplash, person on a video conference call by Anna Shvets on Pexels, person using Trello on a laptop by cottonbro studio on Pexels.

Posted by Eleanor Smith, blog assistant.

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

Overcoming perfectionism

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In this post, Harriet Power discusses some ways of thinking that editors and proofreaders can use to disentangle themselves from the pursuit of perfectionism.

Many of us editors and proofreaders are perfectionists. I’m one of them. But while I think we should care about our work and that high-quality work is important, the trouble comes when this shifts into beating ourselves up over our mistakes, or spending extra unpaid hours on a job to get it just right, or feeding the sense of inadequacy that comes from imposter syndrome.

Here are some of the ideas and ways of thinking that have helped me to relax a bit and become less beholden to perfectionism.

Humans make mistakes

We all make mistakes: it’s just a human trait, and that’s OK. In fact, it’s an important part of how we learn: by making mistakes through trial and error, we learn how to do better next time. (One of the worst mistakes I ever made in-house was to send a book to press without the author’s name on the front cover. WHOOPS. Thankfully the author accepted my heartfelt apology, and it wasn’t too big a deal for the publisher because it was a school textbook where the author’s cachet was minimal, but you can be sure I learned my lesson from that.)

Linked to the idea that we all make mistakes is the fact that as (human) proofreaders and editors, we can’t catch everything. Some things will inevitably slip through the net.

This is something that the publishing system acknowledges. It’s why there are so many eyes on a book: the copyeditor isn’t expected to catch everything, and neither is the first proofreader, and so on. If a human could do a ‘perfect’ proofread, and a typesetter could do a ‘perfect’ markup, then we wouldn’t need three or four or even five proofreading rounds.

I’ve worked on school textbooks in-house where there were so many pairs of eyes on them: a development editor, a copyeditor, reviewers, the authors, in-house colleagues, proofreaders, and there’d still be reprint corrections. At first this was dispiriting, but the fact it kept happening helped me to realise that mistakes are just inevitable and perfection is impossible.

Publishers aren’t paying for perfection

Publishers usually have to compromise on quality in some way and they do this consciously. They choose not to pay for a separate development editor and copyeditor, they squash the schedule, they cut budgets: they choose to make a book that is OK, or even good, but rarely perfect.

Often there’s just not the budget to pay for the extra work that would elevate the book to the next level, and I think publishers realise that for the majority of books, those extra hours aren’t worth the investment anyway. Because readers (generally) don’t demand or expect perfection, so it’s not worth the time, effort and money that it requires.

So if the publisher isn’t shooting for perfection, then you shouldn’t feel you have to either.

This wonderful article by Jeff Reimer puts it much better than I can, and is well worth a read.

A project is simply a project, neither a sacred trust to better the world nor a consecrated burden the publisher has placed on their shoulders to ensure the book is a masterpiece. A job is a job is a job.

Readers are more forgiving (or less observant) than you think

Most readers are going to forgive or not even notice a few slips here and there, like the odd typo or clunky sentence or stilted line of dialogue.

I’m not saying that these things don’t matter at all – they do, and lots of them can accumulate to break a reader’s immersion in the novel, or make the how-to guide harder to read and understand. But a few slips here and there really aren’t the end of the world. Readers generally care more about the bigger picture, like whether the story’s any good or whether the text gives them the information they need.

This is something I’ve noticed when reading non-fiction books. Some of them have what I’d call significant flaws – issues that I’d try to fix as a development editor – like unnecessary waffle and repetition, unclear examples, etc. But these books still do hugely well and get 4+-star ratings on Amazon.

Maybe a good analogy here is a musical performance. A hard but important lesson to learn as a musician is that individual mistakes genuinely don’t matter (and half the time the audience doesn’t notice them anyway) – what matters is the overall performance. I’ve done performances where I’ve completely fallen off the tune, played bum notes, forgotten the chords and more, and people still come up afterwards and say ‘that was amazing!’ I think the same is true of reading a book: it’s the overall experience that matters. So don’t sweat too much over the small stuff.

Authors are allowed to write the books they want

This is something it took me a while to accept once I started working with indie authors, because previously I’d just been working in educational publishing, and educational publishers will usually intervene and rework a textbook if the author’s done a bad job (or has simply failed to write to the brief). But I think educational publishing is something of an outlier here and often it’s important to remember that it’s the author’s book.

When I first started doing development edits for indie authors, I think I had a tendency to go overboard: to try to make the book ‘perfect’ and in doing so bombard the author with tons of comments and things to fix. But I suspect this just overwhelmed them and I was asking for too much from them. So now I try to remember to rein my suggestions in. Because I can still help an author to make a book better, even if it’s not going to be perfect, and that’s OK.

The book is not (just) your responsibility

It’s the publisher’s responsibility, and the author’s, and the proofreader’s, and the typesetter’s, and so on. You don’t have to carry the weight of ‘perfecting’ the book on your shoulders alone.

Editing is subjective

If you give a manuscript to five different editors, you’ll come back with five different edits. This truism is something a lot of us freelancers hear without being able to witness it first-hand, but it’s something I’ve actually seen while working in the CIEP information team. If three of us in the team review a proof, we’ll all comment on different things. I don’t think that makes us better or worse editors than each other – it’s just that editing is subjective and we all notice different things.

The corollary to this is that we can’t all notice everything.

Everyone has strengths and weaknesses

This is another way of looking at the idea that we can’t all pick up on everything. Every editor and proofreader will have some things they’re better at than others: that’s just a part of being human. We can’t be perfect, great or even good at everything.

I’m not great at the intricacies of grammar, I don’t know enough about the self-publishing process, and I really need to organise and formalise my workflows better. These are all things I’m slowly working on, but in the meantime I try to play to my strengths and do a decent-enough job otherwise, and make peace with the fact that I simply can’t be brilliant at everything. (And the positive feedback that I receive suggests that my clients don’t expect me to be brilliant at everything and don’t care that I’m not.)

Even regular people deserve to make a living

This freeing idea comes from Jennifer Lawler, who wrote this short post on LinkedIn about imposter syndrome. Never forget that even ‘regular’, far-from-perfect people (i.e. the majority of us) deserve to make a living.

Once I embraced the idea that I didn’t have to be special in order to deserve not to starve, it freed up a lot of mental bandwidth to do the work to the very best of my ability and not fret otherwise. Letting go of the idea that I have to somehow be A-MAZING all the time actually allows me to have a more realistic perspective on my abilities and to (so ironically) do better work.

I can’t claim to always follow my own advice, but I hope some of these ideas will help you if, like me, you think it’d be healthy to disengage somewhat from your perfectionism. If you’ve found other strategies that work for you, please share them in the comments!

About Harriet Power

Harriet Power develops and copyedits nonfiction books and educational materials. She is a commissioning editor for the CIEP information team, and a Professional Member of the CIEP.

About the CIEP

Photo credits: header by Ann H on Pexels, woman reading a book under a tree by Pramod Tiwari on Pexels, sign saying wisdom with perfectionism crossed out by geralt on Pixabay.

Posted by Eleanor Smith, blog assistant.

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

Creating style sheets for fiction

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Creating a style sheet is an essential part of the editing process, but what you might include in your style sheet depends on what kind of text you’re editing. Jane Hammett looks at some of the topics to consider if you’re working on fiction.

It’s easy to get carried away and create a style sheet that’s several pages long, but this might not be helpful for the client. Always keep your client in mind: how will they benefit from the style sheet you are lovingly compiling for their work? You could think in terms of why, what and how. Let’s take these one by one.

Why compile a style sheet?

A style sheet will be useful to the author – it shows them the spellings and style conventions you have used, and it ensures that their novel is consistent throughout, so James is not allergic to gluten in Chapter 1 but in Chapter 2 he’s happily eating a sandwich. Consistency helps the reader to enjoy the reading experience more – and reduces the risk of negative reviews for authors.

A style sheet is also useful to other editorial professionals who see the text after you, such as a proofreader. If they have a query, they should be able to search your style sheet and find an answer.

It will help the typesetter (TS): your style sheet should include a list of any silent changes you have made to the manuscript (ie those made without tracked changes switched on), a list of text features (see the list below), and any instructions you have given the TS in the edited manuscript (such as <TS: please set as handwritten letter in magical swirly handwriting>).

What could your style sheet include?

All style sheets should include information about how language and SPaG (spelling, punctuation and grammar) are used in the manuscript, such as:

the form of English used (British, US, Indian, Canadian …)
-ise or -ize forms for verbs such as recognise, organise, etc.
the use (or not) of the serial (Oxford) comma
single or double quotes
parentheses: en rules and/or ellipses
the treatment of numbers in the text
the use of italic and bold.

Each style sheet should also contain a separate word list – this is essential for every job. If you come across a word on page 5 that has a variant spelling, how will you remember how it was spelled when you come across it again on page 505 if you don’t make a note of it in your style sheet?

As well as consistency in SPaG, a fiction editor has to keep an eye on the following:

Tense: is the book written in first-person present or third-person past tense, for example?
Point of view (POV) (the subject of many blogs posts all by itself): who has POV? One character or more?
A story’s characters (and descriptions of them): you might find it helpful to keep a list of all characters with a brief note of how they relate to each other. A character description might look like:

Skye (age 14 at end of Book 1, born May 2009). Appearance: short dark brown hair, 5 foot 4, scar over right eye, brown eyes. Character: feisty, brave, adventurous. Background: born in London; her parents are divorced. Family: Alana (mother), Cameron (father), Isla (sister).

Timeline: with all fiction, a timeline is important, but especially if you’re working on a text that is not linear: for example, a text that contains flashbacks or that jumps around in time depending on who has POV.
Plot: keeping a note of what happens in each chapter is really useful – for the author as well as you!
Plot threads: are they all tied off by the end of the book?

You might decide to list all these things in one style sheet, or you might prefer to create a separate document for each.

If you’re working on a specialist genre, there will be other things to consider. For example, in science fiction and fantasy worldbuilding is important, so you will need to include details about the fictional world the author has created, and a list of the words the author has invented for this world. This could include rules (‘Only certain characters can time travel. The time-travel portal is hidden in London’s Waterloo Station’). It could also include geography: you might find it useful to make notes about the setting, especially when this differs from the real world. You could also include a list of place names, road names and building names that are mentioned.

If you’re working on a style sheet for the first book in a series, think about what the author and readers will need to know for subsequent books: where is the book set? Do any characters die in the first book? If so, which? (You don’t want them being accidentally resurrected in Book 2 …) Character descriptions and events in the first book are also important. If you were asked to create a series style sheet, you could continue Skye’s description as follows:

In Book 1 Skye achieved her aim of finding the treasure. At the end of Book 1, she, Elise and Rohan are talking about finding the magical amulet – they need to find it before the evil king does. Pls check this happens in Book 2.

This style sheet is a work in progress: it will be amended and added to by the publisher, proofreader and editor for each book in the series.

Noting all these things helps authors maintain continuity in a series, especially when they may have a break of several months in between writing each book.

How should you compile a style sheet?

It’s sensible to keep a master style sheet and save a copy of this for each new job. Remember to give it a file name that includes the job title, the author’s name, your initials and the date – don’t just name it ‘style sheet’! I highlight everything in my style sheet for a job, then when I come across a feature in a manuscript, I note how the author has styled it and remove the highlighting for this issue from my style sheet. At the end of an edit, if any items are still highlighted, they haven’t come up in the job and can be deleted from my style sheet.

And finally … some text features to look out for

How to style all the text features you might come across in a work of fiction comes up over and over again on the CIEP forums. Style guides such as New Hart’s Rules cover how to deal with text features such as figures and tables, but are silent on how to handle many of the features that crop up in fiction, such as:

characters’ thoughts
text messages
telepathic communication
words remembered or imagined
words spoken by an alien/non-human character
inscriptions or lettering on signs
flashbacks
emojis
handwritten notes
maps
newspaper headlines and articles.

Should these be displayed? In a different typeface? In italic, or in roman with single quotes? You could spend a lot of time thinking about this … I keep a note of text features I see – in manuscripts I edit and published books I read – and how they’re set. Letters and extracts from newspaper articles tend to be displayed and in a different typeface, while thoughts and words remembered are often in italic, to differentiate them from the narrative. It’s sensible to make a list of text features in your style sheet, and add an example of each from the text. In the text, you could add coding or a Word style to each feature, depending what your brief says to do, so the typesetter can find each feature easily and decide how to style it.

This blog post has been a quick guide to what you might include in a fiction style sheet. I hope it has answered any questions you might have – or inspired you to make some changes to your master style sheet!

If you’d like to find out more about fiction style sheets, then you might like to check out Amy Schneider’s The Chicago Guide to Copyediting Fiction (University of Chicago Press, 2023), the CIEP’s guide Getting Started in Fiction Editing by Katherine Trail, and Louise Harnby’s resources on style sheets.

About Jane Hammett

Jane Hammett is an Advanced Professional Member of the CIEP and a tutor on the CIEP’s proofreading and editing courses. She’s also a Partner Member of the Alliance of Independent Authors. Jane works with publishers and self-publishing authors on fiction for adults and children.

About the CIEP

Photo credits: header image by Caio on Pexels, choose your words by Brett Jordan on Unsplash, book and potions by RDNE Stock project on Pexels.

Posted by Belinda Hodder, blog assistant.

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

Resources round-up: Style

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Welcome to this round-up of resources compiled by the CIEP. This time, we look at style – specifically, style sheets and style guides. We have divided our picks into:

General advice on style
CIEP guides
From style sheet to language guide
Academic publishing
Faith-based publishing
Fiction
Non-traditional publishing
Changing styles

General advice on style

If you possess a general handbook about editing, it’s a good place to start when considering style. Chapter 6 of Butcher’s Copy-editing (Cambridge University Press, 2014) covers house style; Part II of Einsohn and Schwartz’s The Copyeditor’s Handbook (University of California Press, 2019) is dedicated to editorial style, and style sheets are covered in its section on basic procedures. If you’d like to consider style in a more holistic way, it’s covered sensibly by Carol Fisher Saller, who was chief copyeditor of the Chicago Manual of Style’s 16th edition, in her essay ‘What copyeditors do’ (in What Editors Do, edited by Peter Ginna, Chicago University Press, 2017), and in her own book The Subversive Copy Editor (Chicago University Press, 2016).

CIEP guides

Style is a thread that runs through editing and proofreading, which is why it’s covered in many CIEP guides. Editing Scientific and Medical Research Articles dedicates a chapter to scientific style, from terminology to capitalisation and abbreviation. The chapter on copyediting in Getting Started in Fiction Editing covers style sheets and the importance of consistency. How to Edit Cookery Books is a great illustration of how defining style is integral to editing specialist texts: in cookery books, for example, keeping to one style for measurements is particularly important. Editing for Communications Professionals, on editing for businesses and other organisations, gives tips on defining a house style, and the Your House Style guide is entirely dedicated to creating a house style. Remember, if you’re a CIEP member you can access these guides for free.

From style sheet to language guide

Certain key style guides have become widely used as sources of advice on language and grammar too. New Hart’s Rules (Oxford University Press, 2014), the Oxford style guide, is one example, as is the Chicago Manual of Style (CMOS). Now in its 17th edition, the CMOS can be purchased in thumpingly large hard copy (University of Chicago, 2017), or as an online version.

It’s worth noting the origins of such giants of style and language advice. As you can read in the preface of New Hart’s Rules, Horace Henry Hart, after whom Hart’s Rules and then New Hart’s Rules were named, was the head of Oxford University Press for many decades until 1915. The first Hart’s Rules was intended for the press’s staff and was only 24 pages long. In ‘What copyeditors do’, Carol Fisher Saller writes about how the Chicago Manual of Style began:

A single style sheet might also be developed for a series of related projects. A successful style sheet might evolve into a company style manual. (The now thousand-page Chicago Manual of Style got its start in exactly that way at the University of Chicago Press.)

Academic publishing

The Chicago Manual of Style and New Hart’s Rules can be useful when defining style in academic texts; however, you may need a more specialised guide. The resources section of Editing Scientific and Medical Research Articles lists guides from such organisations as the American Institute of Physics (AIP Style Manual), the American Mathematical Society (AMS Author Handbook), the American Medical Association (AMA Manual of Style, whose website includes quizzes), the American Psychological Association (APA Style) and the Institute of Electrical and Electronics Engineers (IEEE Editorial Style Manual). If you’re editing in the humanities, the Modern Humanities Research Association (MHRA Style Guide) also provides advice, as does the Modern Language Association (MLA Handbook).

By the way, if you’re editing journal articles, the very best place to go is the website of the journal itself, which is likely to include notes for authors and editors. Similarly, with academic books, it’s likely that the publisher will have a style guide, so if you don’t already have it, ask for it.

If you’re looking for advice on styling citations and references, Cite Them Right by Richard Pears and Graham Shields (Red Globe Press, 2019) gives the rules on a number of academic styles, from Harvard, APA and Chicago to IEEE, MHRA, MLA and Vancouver. The current 11th edition covers how to cite some unusual sources, from Snapchat to sewing patterns.

Faith-based publishing

Sometimes academic publishing, sometimes non-traditional publishing, faith-based texts also need a clear style on elements like capitalisation of key terms and how to cite scripture. Erin Brenner’s 2021 article on the ACES blog ‘Dealing with religious terms: One faith’ includes links to religious style guides.

Fiction

Style in fiction covers the consistency of the fictional world the author has created, including characters, geography and timelines, so there’s a lot to consider. Crystal Shelley provides a useful introduction in ‘Style sheets: What they are and how to use them’. This blog includes a template adapted from Louise Harnby’s style sheet template for fiction. Fiction editor Kristen Tate’s recent blog ‘What is a style sheet?’ is also worth a read.

If you’re a fiction editor, it may well be worth getting your hands on Amy J Schneider’s Chicago Guide to Copyediting Fiction (Chicago University Press, 2023) – its entire Part II is dedicated to building your fiction style sheet.

Non-traditional publishing

When you’re building a style guide for a non-traditional publisher like a business or another organisation, you can learn a lot from a simple trawl of the websites of your colleagues, stakeholders, associates and competitors. What do they capitalise? How do they present numbers and statistics? Larger organisations like the Local Government Association and Shelter may even have a section on their website dedicated to house style. The UK Government’s style guide is free to view online, and includes details of updates so you can see what’s changed between visits.

Many news organisations make their style guides available, from the AP (Associated Press) Stylebook to the BBC’s and The Guardian’s A–Z guidelines, free on the web. If you want your style to follow that of The Economist or The Times, you can buy their style guides in book form, in the Economist Style Guide, 12th edition (Economist Books, 2018) and The Times Style Guide: A practical guide to English usage (Times Books, 2022).

Changing styles

Finally, take a look at ‘Chicago Style Then and Now’ which describes Chicago style as it was in 1906. This first-edition Chicago style included an em space (three times a single space) between sentences; apostrophes with plurals; and semicolons inside quote marks. A useful reminder that style is always evolving, so make sure you arm yourself with the latest guidelines.

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Posted by Eleanor Smith, blog assistant.

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

Compiling style guides for Christian publishers

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Specialist organisations may require style guides that are tailored to their material. Editors Mary Davis and Fiona Little describe their experiences of compiling style guides to suit the needs of two clients publishing for the Christian market – but the principles are relevant for other subject areas.

Mary Davis: Tulips, chocolate and CPD

Near the start of my freelancing journey, I was asked to copyedit an 11,000-word manuscript by a small, independent religious publisher. Their little production team lacked specialist knowledge but were doing their best to produce quality non-fiction books for their relatively niche target market.

Their house style extended to a few bullet points on a side of A4, requesting that authors follow the Society of Biblical Literature’s SBL Handbook of Style and giving a few pointers on preferred formatting, footnotes, numbering systems and so on.

As I raised author queries and produced style sheets, it became clear to the client that there were significant inconsistencies across their publications. They asked me to do a critique of several books, and I produced a short report looking at design, formatting and style choices. There was a clear need for consistency and one of my main recommendations was the production of a more comprehensive style guide.

How did you go about it?

Soon after, the flu struck and I was in bed for days. I certainly didn’t have the energy for a meticulous copyedit or proofread, but I did have the appetite for a bit of informal continuing professional development (CPD)! I knew the client had a low budget and I decided to produce a style guide for them free of charge. I’d developed a good understanding of their authors and target readership, and my style sheets provided much of the detail. Consulting style guides from other clients and online resources, I focused particularly on presentation, which I felt would be key in encouraging authors to use it.

What did you include?

In consultation with the client, it didn’t take long to compile the finished guide – a carefully designed, six-page PDF.

Standard features: It included the things you’d expect, such as a general introduction, notes on abbreviations and contractions, UK spellings, preferred punctuation, numbers, dates and times, and book and hymn titles.
Emphasis on clarity: The writing style of some of the authors I had already copyedited was unnecessarily complicated and so the guide included an emphasis on clarity and plain English.
Interactive links: To make it user-friendly and easy to navigate, I included internal clickable links and external hyperlinks to resources like the SBL Handbook of Style and preferred dictionary.
Clear presentation: Aesthetically, I took great care with the layout, heading size and examples of correct usage, ensuring that authors would find it visually appealing and easy to use.
Personalised features: Working from my style sheets, I compiled a list of commonly used words, indicating preferred capitalisation and spelling. I also specified preferred formatting for Bible references and Bible ‘shortforms’ (abbreviations for each book of the Bible), as authors had been simply adopting their own preferred convention.
Ongoing: To facilitate updates, I supplied the client with a Word document in addition to the PDF.

What did the client think?

They sent me some tulips and chocolate in the post to say thank you! They also asked me to do some paid training with their publications manager, which I conducted online.

The guide is a number of years old now, but I asked the current publications manager to comment on its usefulness. She replied:

Our style guide has greatly benefited our publishing organisation. It provides clarity for authors who need to know what our expectations are and helps us to create a quality uniform product. From basic expectations (like grammar) to more niche requirements (like capitalisation of terminology), both our writers and editors appreciate the consistency that the style guide gives.

I didn’t get paid for this work but the six hours or so I spent on it was immensely worthwhile. Careful reading of a number of style guides was valuable in itself – and, on top of that, the project cultivated strong working relationships and resulted in a stream of ongoing work. They weren’t and aren’t my highest-paying clients – but, as well as tulips and chocolates, this project gave me confidence and specialist knowledge at a key stage in my career.

Mary’s top tips for compiling a specialist style sheet

Assess the material produced by the organisation and current authors’ writing styles. Does it match the client’s requirements?
Decide what standard features are required in the guide. Do you want to reference an existing guide or dictionary?
Working from style sheets and other sources, compile a list of commonly used words, noting preferred capitalisation and spelling.
What other guidance will be needed? The inconsistencies between publications will give you a steer on what may be required.
Take care over presentation, and include clear examples of correct usage. Internal links and external hyperlinks may be useful.

Fiona Little: Discussion and flexibility

When a client asked me to produce a style guide for an ongoing series of church reports, I welcomed the challenge. The client wanted to review the styles used in the existing reports and create a more comprehensive style guide that would ensure greater consistency in future reports in the series. Although the authors were theologians and clergy, the reports were intended to be available to lay people, so a style guide for academic theological writing might not be suitable. A tailored guide would help authors, editors and proofreaders working on the series.

Starting points

I was able to refer to previous reports in the series, all of which were in British English. The client had begun to draw up a list of preferred spellings, hyphenations, capitalisations and so on, and an author had added comments to it. There seemed to be omissions and contradictions, but the document gave me some idea of the priorities.

The main issues

Spelling

I found spelling inconsistencies not just in the existing reports but also in the client’s word list – for example, Oxford-style ‘-ize’ spellings seemed to be favoured for most words, but ‘baptise’ was preferred over ‘baptize’. After some discussion, the client decided to standardise on ‘-ize’, and we chose the New Oxford Dictionary for Writers and Editors (NODWE) as a default guide.

Punctuation

We also agreed on Oxford style (as described in New Hart’s Rules) for dates, serial commas, dashes and other aspects of punctuation. The style guide would need to outline these.

Capitalisation

Capitalisation was the biggest issue. We agreed easily on initial capitals for specific meanings as opposed to general ones (eg ‘the Father’ in reference to God); words with multiple senses needed particularly careful treatment – for example, ‘church’ was used, variously with and without capital C, for a building, a congregation, a Christian denomination (such as ‘the Church of England’) and Christian believers worldwide. The client opted for ‘the Bible’ but ‘a bible’, unlike NODWE, but followed NODWE in downcasing pronouns for God. The style guide would need to give clear examples of these usages.

References

While detailed bibliographical references were not covered, we agreed a format for references to other reports in the series, including their numbered sections.

For the frequent Bible references, the client wished to stick with the abbreviations for books of the Bible used in the New Revised Standard Version, along with a distinctive chapter-and-verse format used by a larger publisher. These choices seemed to work because their parameters were clear.

A style was also needed for the titles of documents in Latin; the client wanted italic with maximum capitals, even though normally a Latin title would have sentence-style capitalisation.

Numbers and dates

We agreed on maximum elision for number ranges (eg 341–2) and years (1988–9), following New Hart’s Rules, but we treated chapter and verse numbers in Bible references differently (see ‘References’ above).

Abbreviations

The reports used abbreviations for the names of various publications and organisations, and these needed to be listed in the style guide.

Because of the simple format of the reports, headings, lists and footnotes – among other features – were not covered.

The result

The completed style guide had short sections on all the categories highlighted above. The general reference to NODWE made a long word list unnecessary, but I listed recurrent words and names where the chosen style differed from NODWE.

Fiona’s top tips for compiling a specialist style sheet

Look carefully at the material to get a sense of the content, presentation, tone and intended readership.
Discuss the client’s preferences with them, and if their ideas appear unfeasible or inconsistent, explain the alternative options as straightforwardly as possible.
Consider whether a published style guide (eg Chicago Manual of Style, New Hart’s Rules or the American Psychological Association (APA) style guide) would cover all or most of the requirements, but don’t assume that the client will be familiar with it.
You may also find ideas in publishers’ copyediting guidelines and specific copyediting briefs.
If you base your style guide on an existing one, set out any exceptions to its guidelines clearly.
Consider organising the guide by type of text (eg headings, book titles) – this can be easier to navigate than a list of formats (eg italic, maximum capitalisation).
A couple of well-chosen examples may be easier to follow than a lengthy explanation; for instance, maximum elision of page ranges can be shown with ‘301–2, 341–5, but 315–16’.

About Mary Davis

Mary Davis’ first job was for someone who was obsessed with clear, beautifully written English. Her freelance work started soon after, alongside other jobs. It developed more formally when she undertook some training to check if her skills were fit for purpose – they were! Mary is an Advanced Professional Member of the CIEP and is delighted to be doing a job that never fails to put her head in a good place.

About Fiona Little

Fiona Little, an Advanced Professional Member of the CIEP, began her editing career with work on Grove music dictionaries and later copyedited material for the Oxford Dictionary of National Biography. Now based in Washington DC, USA, she copyedits academic texts mainly on music, history and religion.

About the CIEP

Find out more about:

Photo credits: header image by Michael Morse on Pexels, someone taking notes from a Bible by Tima Miroshnichenko on Pexels.

Posted by Eleanor Smith, blog assistant.

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

Bridging the gap: Translation editing of Chinese texts published in English

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In this post, Magda Wojcik considers some of the challenges in editing text that has been translated from Chinese to English.

Translation editing has a dual function when preparing a text for publishing. It performs the function of conventional copyediting, to ensure the text is clear, consistent and correct. It also provides harmony between the message, style and tone of the translated and original versions of the text.

Achieving such unity between two languages from the same language group spoken on the same continent may be easier. However, translation editing becomes more complex when the original (source) and the target (translated) languages differ profoundly in how they express, for example:

grammatical gender systems
time dependence
directionality
physical attributes such as colours.

This blog post explores the process of translation editing a text written in putonghua, which is the standard modern Chinese of the People’s Republic of China (PRC), for publication in English. Putonghua is one of the localisations of Mandarin Chinese, alongside those spoken in Taiwan and Singapore. In this post, the term ‘Chinese’ is used to refer to putonghua. Regarding English, for the sake of simplicity, this post does not delve too much into its complexities and variations.

Chinese vs English: How do they differ?

In (a very simplified) summary, Chinese expresses spatial and physical attributes and time dependence (including tenses, grammatical gender systems and numbers) differently from Indo-European languages (of which English is one). And unlike a Latin-based alphabet, Chinese uses a logographic writing system. In other words, each character represents a specific word or concept that can function as a standalone word or component of a word.

So what does that mean in practice? Let’s have a look at some simple examples.

Directionality and time

In Chinese, time progresses vertically rather than horizontally. So instead of thinking about the past as being ‘behind’ us, it is ‘above’ us; instead of thinking about the future as being ‘in front’ of us, it is ‘below’ us. For example, the character xia conveys not only ‘down’ or ‘below’ but also ‘next’. Likewise, shang denotes ‘up’, ‘above’, and ‘previous’. This distinctive understanding of time in the Chinese language, and its connection to spatial orientation, may present challenges in translation editing.

Colours

Some words in the Chinese language have been transforming, potentially aligning more with the Indo-European speaker’s understanding. For instance, modern Chinese distinguishes between blue (lan) and green (lü). However, a word that predates them both – qing, signifying blue-green – is also still in use. This does not mean that blue and green (as distinct colours) do not occur in Chinese-speaking contexts but may be conveyed (and perceived) differently, not necessarily as distinct shades.

Numerals

Separating every three digits with a comma or a period is common in many Indo-European languages and enhances readability and comprehension. For instance, five hundred million (500,000,000) separates three clusters of three-digit groups. In contrast, Chinese divides numbers into groups of four. The character wan represents the value of ten thousand, and yi means a hundred million. So five hundred million is expressed by placing the number five (wu) in front of the hundred million (wu yi). While China uses the international numeric system with three-digit groupings and Arabic numerals, wan and yi remain prevalent and may influence how Chinese speakers convey numerical values.

What about translation editing?

These simple examples may demonstrate that language and how we think about and perceive the world may be intricately intertwined and mutually influence each other. Aside from communication, people use language to think. How the language is structured, with its syntax and specific logical rules, may affect how speakers of different languages perceive the world and convey their thoughts (Casasanto 2008). And this is when translation editing and its components of transcreation and language localisation come into play.

Localisation ensures that the target audience will understand the text’s terminology, cultural references and style carried over from the original text. Transcreation complements localisation and ensures that the translated text accurately conveys the message and tone of the source text.

These processes are critical in translation editing text from one distinct language to another. However, considering them is essential even for texts published in the same language spoken in different locations. For instance, Spanish speakers from Colombia and Spain may not resonate with the same references to a brand of sweets or a national newspaper in a text because these references are absent from their corresponding socio-cultural contexts. And so many other idiosyncrasies relevant to location and culture may need to be adapted in the localisation process to resonate with the target audience successfully.

Localisation: What to do with Chinese idioms in English?

An example of such idiosyncrasy is Chinese four-character idiomatic expressions (chengyu). These are the dominant form of Chinese idioms, comprising nearly 90% of those used today in speech and writing (Xu 2006). They reflect complex meanings drawn from literature and culture using four characters (or four syllables), which may take a paragraph to explain in English.

An example of such chengyu is ‘drawing legs on a snake’ (hua she tian zu; lit. ‘draw snake, add feet’). It signifies adding unnecessary or excessive elements to an already complete or perfect thing. When translated word for word, it may appear entirely obscure to a speaker unfamiliar with the context of Chinese philosophy and literature.

Hua she tian zu derives from one of the Zhuangzi stories, a collection of Daoist essays dating back to the fourth century BC. It describes a talented painter participating in a painting competition.

In the story, the first competitor to complete a snake drawing was to be the winner. The painter who finished first decided to add legs to his snake in an attempt to showcase his skills, technically making it into a lizard instead. Thus, he did not win because by making the addition, he missed the brief.

In this case, the translation editor could ensure effective localisation and transcreation by referring to an equivalent British English idiom familiar to the audience. For instance, it could be ‘gilding the lily’, which originates from Shakespeare’s play King John. Alternatively, the translation editor could ensure the text describes the concept to the reader on a more abstract level without referring to the snake, legs and painter.

Conclusion

Translation editing plays a vital role in bridging the gap between Chinese texts and their English translations. The complexities arising from differences in grammar, expressions and cultural nuances require careful consideration during the editing process. By understanding the intricacies of both languages and cultures, translation editors can bring Chinese texts to life in English while preserving their intrinsic meaning and engaging English-speaking readers.

The unique features of the Chinese language, such as spatial and temporal orientation, a logographic writing system, and numerical representation, pose specific challenges in translation editing. Language and thought are intricately intertwined, influencing how we perceive the world and convey our thoughts. Therefore, localisation and transcreation are essential components to ensure that the translated text accurately conveys the message and tone of the source text while catering to the target audience’s understanding and cultural context.

In this journey of translation editing, it is crucial to balance staying true to the original text with making it accessible to the target audience. And as we navigate the complexities, we must remember not to draw legs on a snake.

References

Xu, SH (2006). Proximity and complementation: Studies of the formation mechanism of idioms from cognitive point of view (II). Jinan daxue huawen xueyuan xuebao [Journal of College of Chinese Language and Culture of Jinan University], (3): 33–41.

Casasanto, D (2008). Space for thinking. In P Calvo and P Gomila (eds), Handbook of cognitive science: An embodied approach. Amsterdam: Elsevier, 641–52.

About Magda Wojcik

Magda Wojcik is an Intermediate Member of the CIEP who primarily works with non-fiction and academic authors. She is also a translation editor preparing texts translated from Chinese for publication in English. Before becoming an editor, Magda completed a PhD in Chinese literary history at SOAS, University of London.

About the CIEP

Photo credits: Chinese lanterns by Henry & Co; teacher in Chinese school by Yu Wei; both on Unsplash.

Posted by Sue McLoughlin, blog assistant.

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

Editing fiction: Point of view

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In this post, Rachel Rowlands looks at how fiction editors can help authors to use point of view consistently and in a way that works well for the story.

Point of view is a crucial element of fiction editing – and it’s something newer writers often struggle to get to grips with. As editors, it’s part of our job to be able to point out to an author when they’ve broken out of their chosen perspective, and to advise them on what will work best for the type of story they’re telling.

Point of view is the lens through which we view the story – whose eyes we experience the story’s events through. This could be a single main character or multiple characters. It’s a huge topic (there have been entire books written on the subject!), so after a quick crash course in the different types, I’ll list some of the main sticking points I’ve come across as a fiction editor, and how you can help authors deal with them too.

Point of view: The different types

First-person: this one is pretty straightforward! A character narrates the story using ‘I’ (‘I headed into the woods to search for him’, ‘I laughed’). The benefit here is that this can make the narrative feel much closer to the main character. It’s common in certain genres and age categories, such as young adult books.
Second-person: second-person point of view involves the use of ‘you’ (‘you walked across the street’, ‘you said’). This is quite an uncommon choice, and is best used carefully – some readers hate it with a passion! However, it can be a good way of making the reader feel more involved in the story.
Third-person limited: in third-person limited, we use pronouns such as ‘he’, ‘she’ and ‘they’ (for example ‘she grabbed his hand’ and ‘they weren’t listening to her’). The clue to this one is in the name: we’re limited to one character’s perspective and are zoomed in on them. We experience one point of view. This can be per chapter, per scene or for the whole book, depending on the author’s choice.
Third-person omniscient: in this point of view, we again use pronouns such as ‘he’, ‘she’ and ‘they’. But in omniscient, we are more zoomed out. The narrator is godlike, and knows everything about the story and characters, meaning we can enter anyone’s mind we like. The narrator can also know things the characters can’t. This point of view is more common in classic literature, and so is often seen as slightly old-fashioned now, but for some stories, it can work.

The sticking points

There are common problems that come up when it comes to point of view, and some of them can be trickier than others to communicate to authors.

Some point-of-view problems may mean you have to advise an author to completely scrap a perspective, or even rewrite their book in another perspective entirely.

Here are some of the most common point-of-view problems, and how you can help authors overcome them.

The chosen point of view doesn’t work for the book

Sometimes, the point of view just doesn’t work for the type of book the author is writing. A good example of this would be a middle-grade author writing for children, using the omniscient viewpoint, and diving into the perspective of all the adult characters.

This likely doesn’t work for a few reasons: omniscient has become a bit old-fashioned and outdated, particularly for children’s books (it was used, for example, in JM Barrie’s Peter Pan way back in 1904). It can also muddle the target audience. In a middle-grade book, we want to be focusing on the children’s point of view, not the adults’. In children’s books, the general rule of thumb is that children read about people their own age or slightly older. Having the point of view of characters over the age of 18 muddies the waters and pushes the book out of its intended age category.

The author is head-hopping

Head-hopping tends to occur when an author is writing in third-person limited, and is zoomed in on one character. Sometimes, the author slips up, and gives us the thoughts and feelings of a non-viewpoint character.

For example, let’s say the author is writing a chapter in third-person limited, following a character called Tom. The chapter is clearly zoomed in on Tom, and we get insight into his thoughts and feelings throughout:

Tom heaved a sigh. How was he supposed to get on with his week now, with his sister being so difficult? ‘I don’t want to talk about it right now,’ he told her.

The chapter is written this way, close to Tom, consistently. Then, suddenly, we get a sentence where we know what his sister, Michelle, is thinking:

Michelle crossed her arms. She’d expected this reaction but it still made her cheeks feel hot with fury.

This would be considered head-hopping – we’ve dipped into Michelle’s head to learn about what she’s thinking and feeling, but we need to be following Tom. In this case, the sentence could be cut down so only the first half remains, or rewritten so the second half focuses on Tom.

Some forms of head-hopping can be more subtle than this, so make sure you’re on the lookout for this kind of switch!

Using too many points of view

Sometimes an author wants to write from the point of view of lots of different characters, and so we get lots of scenes or chapters from the perspective of different people. Even the most skilled authors can find this difficult!

For new writers in particular, using lots of perspectives can occasionally cause issues: there may be so many point-of-view chapters or scenes that readers will struggle trying to keep up with them. It might be harder to give each character a unique voice, because the author has spread themselves too thin. And it may be difficult to develop a protagonist with a clear goal and well-defined personality, because the author is juggling too many storylines and points of view.

As an editor, if you think a manuscript is struggling with any of these issues, odds are a reader will think the same. The author in many of these cases might be better off scaling back on some of the perspectives so they can focus on what matters most to the story.

The author’s own voice intrudes on the narrative

This is a common issue when the author has chosen to use third-person limited, but occasionally slips into omniscient by having their own ‘author voice’ intrude on the narrative. This is a difficult thing to spot, because it requires having a good knowledge of the differences between third-person limited and omniscient, and having a honed eye for each! Here’s an example of how the author’s voice can intrude.

If the entire book has been clearly written in the point of view of a character called Cassandra, in third-person limited (so kept very close to Cassandra throughout), keeping this consistent is important. The author voice suddenly intruding may look something like this:

Cassandra twisted her hands, her cheeks burning. She had to do something to stop this. Little did Cassandra know that things were about to get much worse …

Here, the author’s own ‘godlike’ voice has intruded to give the reader a glimpse of the future. We’ve slipped into omniscient, and the author has spoken directly to the reader. As the book was written in third-person limited elsewhere, we’ve broken out of our intended point of view. An intruding author voice can be more obvious (like the movie-trailer-style example above), or more subtle, so getting a good handle on both perspectives can help you identify this issue.

The easiest way to practise identifying this type of slip is to read novels that use both types of third-person point of view, so you become familiar with how each of them works. Some examples of books written in third-person limited are The Lost Flowers of Alice Hart by Holly Ringland, The Priory of the Orange Tree by Samantha Shannon and The Giver by Lois Lowry. Third-person omniscient books are less common these days, but some popular examples are Dune by Frank Herbert and Peter Pan by JM Barrie.

Those are some of the common issues with point of view that I’ve come across while editing fiction, but there are more that you’ll no doubt encounter! There are lots of great resources out there that you can check out to learn more. Here is some recommended reading to brush up:

Self-Editing for Fiction Writers by Dave King and Renni Browne (chapter 3: Point of View)
Point of View by Sandra Gerth

About Rachel Rowlands

Rachel Rowlands is a fiction editor, author and Advanced Professional Member of the CIEP. She has a degree in English and creative writing and has worked on around 200 books for publishing houses (including HarperCollins, Hachette, Canelo and Penguin Random House), as well as for independent authors.

About the CIEP

Photo credits: faces by geralt on Pixabay; group of friends by William Fortunato on Pexels.

Posted by Sue McLoughlin, blog assistant.

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

Curriculum focus: The publishing process

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In this regular feature for The Edit, former training director Jane Moody highlights an area of the CIEP’s Curriculum for professional development. This month’s article is packed with useful information to expand your knowledge of the publishing process, from digital to bookbinding!

Publishing is covered in several areas of the curriculum. I haven’t included editorial processes in the list below, but rather concentrated on those aspects of publishing that are not covered by our core skills. These areas are valuable for a competent copyeditor or proofreader to know about. Most topics fall into Domain 2 Editorial knowledge and practice, but I have included one from Domain 1 Working as a professional.

KNOWLEDGE CRITERIA	EDITORIAL COMPETENCIES, PROFESSIONAL SKILLS AND ATTITUDES
1.1.1 Role and responsibilities of an editor/proofreader within a publishing team	• Understands publishing schedules and budgets, and how they interact • Is aware of the responsibilities of an editor to stakeholders and of the editor as an intermediary • Understands the place of an editor/proofreader in the publishing process • Is aware of own role within the team and able to work as part of a team
2.1.1 Workflows	• Understands the critical stages involved in any publishing process • Understands common publishing terminology
2.1.2 Schedules and budgeting	• Understands the importance of scheduling and budgeting within any publishing process • Understands the influence of the schedule/budget on the scope of editing/proofreading
2.1.4 Production processes	• Understands the roles and responsibilities of a production team • Understands the meaning and use of common production terminology • Understands the stages of the production process (eg prepress, print/electronic production)
2.1.5 Design, typography and typesetting	• Understands the meaning and application of common typographical terminology • Is aware of different fonts, typefaces and their uses • Recognises typographical characteristics: measures, alignment, spacing • Understands word and character spacing, leading, indentation, non-breaking spaces, hyphens • Understands layout, typesetting and working with a typesetter (specification, layout, revises, running sheets)
2.1.6 Printing and finishing	• Understands the requirements for different printing processes (colour, paper types, sizes, file sizes, resolution) • Is aware of different printing processes (eg litho, offset, digital, print-on-demand) • Is aware of different print finishes (eg sealer, varnishes, laminates) • Is aware of different binding methods (saddle-stitched, perfect binding, sewn, case binding, self-cover)
2.1.7 eBook formats	• Is aware of different ebook formats (eg EPUB, Amazon AZW, PDF, TXT, MOBI • Has a basic understanding of which format to choose in different situations
2.1.11 Different models of publishing	• Is aware of the different types of publishing models (eg traditional publishing, businesses and other clients, self-publishing) • Understands the different financial models of publishing (eg traditional publisher pays, author pays, open access, hybrid models, self-publishing)

Terminology

Before you can understand the processes, perhaps you might need some explanation of the many jargon terms used in the business. You can, of course, use the CIEP Glossary. Other terms might be found in HarperCollins’ Glossary of Book Publishing Terms. For a lighter look at publishing terms, try Tom’s Glossary of Publishing Terms (in which the term copyediting is defined as ‘A phase of publishing that requires little or no budget, is considered of slight importance, and may be omitted at the option of the publisher’, copyright as ‘A concept invented by lawyers as a hedge against unemployment’, and chapter-by-chapter breakdown as ‘the progressive deterioration of a copyeditor who is on a tight deadline’!)

Some slightly more technical terms can be found in Desktop Publishing Terminology – The Complete Guide (2022) from Kwintessential.

Process and workflow

Understanding the publishing process is essential for copyeditors and proofreaders. However, understanding is complicated because there is no one process – workflows vary from publisher to publisher and with different types of publishing. There are several CIEP courses listed in the curriculum and other helpful resources. The CIEP fact sheet The publishing workflow is a good starting point.

Courses are thin on the ground, but the Publishing Training Centre runs an e-learning module An Introduction to publishing, which is described as being for ‘newcomers to publishing who wish to gain a grounding in the structure of the publishing industry today, along with its key processes and functions’.

Books include:

Inside Book Publishing, 6th edn by Giles Clark and Angus Phillips (Routledge, 2019), ‘the classic introduction to the book publishing industry’.
Handbook for Academic Authors: How to Navigate the Publishing Process, 6th edn by Beth Luey (Cambridge University Press, 2022).

Here, I’m looking further to find information in the online environment:

The Publishers Association is a good source of information. Their webpage ‘How publishing works’ gives detailed information and includes personal accounts of working in the role (although when I looked, there were several broken links).
Publishing Talk aims to help new and emerging authors write, publish and sell books. Jon Reed has written a blog, ‘The book publishing process – an 8-step guide’.
Individual publishers may offer guidance to authors about their particular processes, which can also be useful to editors, particularly if they include timings. See, for example, the Bloomsbury guide to the publishing process. The timings quoted there might raise a few eyebrows! HarperCollins personalises the process, with individuals describing their roles in the company.
Bill Swainson has written a blog, ‘The Publishing Process’ (originally written 27 July 2012 and updated 20 January 2021), for the Bloomsbury Writers & Artists newsletter.

For a different kind of publishing process for non-fiction, read the IntechOpen article ‘Publishing Process Steps and Descriptions’. IntechOpen is an open-access publisher. This model of publishing charges a fee to the author or the author’s institution (£850 per chapter) and the subsequent (online) publication is made freely available to readers.

ALLi provides information on the self-publishing process in a blog by Orna Ross, ALLi Director: ‘What Is Publishing? The Seven Processes of Book Publishing’. Also describing the self-publishing process is a guide from the Writers’ Guild, published in 2022, Self-publishing: A step-by-step guide for authors.

Other web resources include an ‘Academic Publishing Toolkit’ for potential authors from the University of Manchester Library. The University of Manchester Library has a number of helpful webpages on the publishing process. ‘The publishing process – what to expect’ includes flowcharts for each type of publication. These webpages give information about typical stages, milestones and timescales that you’re likely to encounter when publishing a journal article or a monograph.

What all these useful articles don’t say, in their attempts to set out a clear process, is that some (sometimes all) these processes can happen in different orders, or all at once. Often, the design is adapted from a previous publication, so is already set before the editorial processes start. Sometimes publication is driven by the market, and marketing may be started before a word is written or edited. Publishers’ marketing departments are often over-enthusiastic about the speed of production of their forthcoming titles! How often have you ordered an advertised book only to be told (often several times) that the publication date has been put back?

Ebooks

Anum Hussain’s blog post ‘How to Create an Ebook From Start to Finish’ (11 August 2022) is a useful introduction, as is ‘How to Make an Ebook in 5 Steps Without Breaking a Sweat’ from Designrr.

‘Everything Self-Publishers Need to Know About Ebook Formats’ (8 November 2021) gives a run-down of the different formats available and when (and how not) to use them.

Printing and binding

You can read about the printing and binding processes, but it is hard to imagine what it’s really like without seeing it. YouTube is a happy hunting ground for videos – once you start to look, you will find many helpful videos that explain the process or just give you a feel for what it is like. Here are just a few.

If you don’t know much about the printing process, watch Gorham Print’s YouTube video, which shows the process in a small printing company. Watch the same basic process on a giant scale in a Korean company, Mega Process (or this one: Factory Monster). I can tell you from personal experience that these factories really are that noisy, even without the music! This clip is more explanatory: ‘How It’s Made Books’. I’d recommend watching them both: the Korean ones will give you a better feel for the real action, but the explanations in the latter are very helpful.

For a slightly different approach, watch Amazon Books’ ‘make on demand’ process. The sound quality is occasionally quite poor, which is a shame, but it’s worth watching to see the POD (print-on-demand) process.

Newspaper printing is quite specialised. Watch the New York Times (in 2019) or The Times (in 2022) being printed.

Offset litho printing is described in a video from Solopress and the sheetfed system in one from Sappi (this one has subtitles). Express Cards’ simple animations make the whole process a lot easier to understand.

Digital printing is explained in a video from Sappi and from Sticker Mountain (Indigo printing).

The Telegraph has a video from 2012: ‘Birth of a Book: how a hardback book is made’ – there will still be companies in existence who use the human touch, but probably not many like this one. For an even more esoteric skill set, watch ‘The Chelsea Bindery Show the Processes of Book Binding’ – once upon a time, most books were bound like this. It’s more like this now: ‘Book binding (Muller Martini Monostar)’.

About Jane Moody

Jane has worked with books for all her working life (which is rather more years than she cares to admit), having started life as a librarian. She started a freelance editing business while at home with her two children, which she maintained for 15 years before going back into full-time employment as head of publishing for a medical Royal College.

Now retired, she has resurrected her editorial business, but has less time for work these days as she spends much time with her four grandchildren and in her garden.

About the CIEP

Photo credits: letterpress by Jirreaux; printing machine by Dengmert; both on Pixabay.

Posted by Sue McLoughlin, blog assistant.

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

Flying solo: Know your place!

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Us editors and proofreaders are important people in the publishing process – of course we are! But Sue Littleford reminds us that we need to remember we are but a small cog in a larger wheel.

As copyeditors and as proofreaders, we know the value we bring to the finished product, and we know the effort we expend when working with text: the expertise, the diligence, the focus, the conscientiousness.

So it’s easy to start thinking that we’re actually very important people. We are, of course, but – brace yourselves – we’re not the be-all and end-all of getting a book, or an article, or whatever text we’re working on, to publication.

We literally need to know our place – in the publishing process.

Why?

Because if we don’t, we won’t – except by luck – produce outputs that fit precisely with what the client needs to move the text along its tracks. (And we will struggle to understand what’s happened to the text before it reaches us.)

It’s actually basic customer service – putting yourself in the client’s shoes, whether that’s a publisher, a packager, the author, a business or the charity you’re volunteering for.

Part of the job of learning to be an editorial professional includes learning about the context in which you’re working, so you can supply the service that is actually required of you.

For proofreaders – in particular, beginning proofreaders – the hardest thing to judge is what’s too much intervention, and what is not enough. One of the CIEP’s tutors on the proofreading suite of courses tells me that this is the area that students generally take longest to learn – but it’s a crucial notion. No one wants the proofreader creating new problems by re-editing the book or changing the layout: it’s not their job, and it’s out of sequence in the publishing process.

What’s the job?

What work are you being hired to do? A heavy language edit? A light-touch edit? A proofread or a proof-edit? You need to know, so don’t be afraid to ask if it’s not clear from the information initially supplied. If you don’t know what you’re pricing for, that’s bad for business.

Do you know if you’re expected to carry out multiple rounds of editing for your fee? Your contract, whether it’s your own or your client’s, needs to spell this out. If there’s no formal contract, you still need to know so get it in writing in an email at the very least.

What has the file been through before it gets to you?

This is important to know because you need to understand what you’re getting yourself into. It’s good business sense to provide your estimate based on facts, not assumptions, so do ask what you’ll be getting, and get specific answers.

If you’ve never worked with pre-edited files before, you are in for a shock when the first one lands in your inbox, and you are quite likely to rush to the CIEP forums asking what all those colours and links are, and whether you can delete them (no, you can’t – you’ll be adding to them, actually).

If you’re working directly with an author then you’ll be getting the raw files. But what’s their story? What software were they produced in? Word? What version? (A lot of people are still working in really old versions of Word – be alert!) Something else? OpenOffice? Scrivener, maybe? Can your computer handle that? Google Docs? Can you handle that?

Is it as ‘simple’ as a file produced on a Mac being edited on a PC? Are you aware of the type of problems that might arise, and do you have solutions – or do you know where to look for them?

If it’s an academic text, has the author used referencing software and left the links live? What are the implications for you? Have you allowed enough time in your schedule to deal with them, and costed it all into your fee already?

What’s the workflow?

As I draft this, I’m in negotiation with a new client, who has asked me to provide cost and time estimates for a book. I got the subject, the title and the word count.

So I asked how he wanted author queries dealt with. Resolve them all directly with the author? Provide queries in comments bubbles, return the file and call it good? Send the edited full manuscript to the author for approval and query resolution, then get it back for a second round of editing?

You can see how each possibility has time implications, and therefore cost and scheduling implications.

Knowing the workflow that’s expected is a critical element in knowing how to price a job, and knowing whether it will fit into your schedule or not.

Deadlines matter

Yes – I also asked that client about deadlines. He’s a packager, so he needs to meet the publisher’s schedule for print-ready files, and therefore I must be able to meet the packager’s deadline to give him enough time to do his own work after I’ve finished, and to produce those print-ready files by the due date.

You’re not going to get repeat business if you miss deadlines.

If you’re running late, that puts additional, unwarranted pressure on the people who follow you in the process – typesetters or designers, proofreaders, authors, collators, printers, ebook producers, marketers – to make up the time you lost. Or it simply delays publication.

Some academic books are timed to come out just before major conferences, or for the start of the academic year, and simply cannot be late.

You need to be sure when you accept a job that you know what it entails and that there really is space in your schedule for it. Misplaced optimism is not your friend.

What’s going to happen to the file after you’ve done your editing?

This is important so that you produce what the client needs from you. It’s not good business to do anything else, is it! But do you make sure you actually know?

If the file is going off for layout or typesetting, and it’s not already been through pre-editing, do you need to use styles or tags to let the typesetter or designer know what to do? That’s fundamental information you need to know before you start work, or you risk producing a file that can’t be used by the people who follow you in the production schedule.

If the file is going to be an ebook, have you formatted according to the platform’s specification? If you’re to produce a print-ready PDF, did you know you need to embed the fonts in the Word file before making the conversion, so that the PDF will print correctly?

Communication and handover documentation

Knowing your place in the publishing process means, too, that you’ll understand what kind of handover documentation you need to produce, and it will, in fact, inform all your communication with the client and/or author.

For instance, do you know whether the publisher expects the author to be the sole proofreader, or will a professional proofreader also see the text? The author will need the style sheet and the word list every bit as much as the proofreader.

Therefore, if you have direct contact with the author, be sure to send that handover documentation, and to tailor it. Some of my publisher and packager clients want a list of special sorts, and tag codes. A proofreading author won’t need those, and might be rather confused to receive them – so don’t just send to the author what you send to the publisher. Provide excellent customer service – put yourself in their shoes, remember.

And, from another point of view, if you’re a proofreader, do you ask for the style sheet and word list if it’s not offered to you? They will exist if the text was copyedited by an editor who understands their place in the publishing process. Don’t just start grumpily compiling your own if you don’t need to! You might find that seeing the copyeditor’s decisions makes your proofread a bit less difficult.

Does your client actually specify how handover should be done? I have one client who provides a file for me to complete; others let me do things my own way. Some clients want the editor to provide running heads, others don’t. When you start on the job, make up a checklist of everything you need to return. Don’t leave it until the end, then discover the hard way that you’ve overlooked something in the rush.

Final thoughts

Understanding the publishing process, even in outline, means you understand your place in the scheme of things, and therefore the value that you bring. You can enhance your value by being smart about ensuring you’re fully briefed on what the work is going to be, and how it’s going to arrive, what the expected outputs are, and by when.

Copyeditors and proofreaders are links in a chain, not the tail trying to wag the dog.

About Sue Littleford

Sue Littleford is the author of the CIEP guide Going Solo, now in its second edition. She went solo with her own freelance copyediting business, Apt Words, in March 2007 and specialises in scholarly humanities and social sciences.

About the CIEP

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Photo credits: header image by DS stories on Pexels, woman working on a laptop by Vlada Karpovich on Pexels, planner with two pens on top by 2H Media on Unsplash.

Posted by Eleanor Smith, blog assistant.

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