Category Archives: Getting started

Project fear: fiction editing

By Gale Winskill

With apologies to Jane Austen, ‘It is a truth universally acknowledged that most editors enjoy reading’. I say ‘most’, as there will undoubtedly be an exception somewhere – and when you find them, please let me know! Of those who read for pleasure, I would hazard a guess that the vast majority probably opt for some sort of fiction, although again, a small percentage will not.

Drawing of a book with a visualisation of a story coming from its pagesBut those who don’t will quite possibly enjoy memoirs or biographies that share many narrative traits with fiction, as ultimately they encompass a good ‘story’, and require pace and drama.
Fast-forward then to the surprising number of editors who recoil in horror at the thought of actually editing fiction, preferring the relative order of non-fiction subject specialities, academic guidelines and referencing systems over the perceived unwieldiness of fiction.

Spot the difference

And yet, is non-fiction/academic editing really so different from fiction editing?

We all pass an unconscious critical eye over our reading material, of whatever ilk – newspaper articles, web text, books… And how often have we come to the end of a novel only to wonder what happened to a particular character who inexplicably disappeared from view at some point, or to query why an author suddenly switched to American idiom for a protagonist previously noted for their ‘West Country vernacular’?

Is this really so different from spotting in a work of non-fiction that the Russian Revolution occurred momentarily in 1817 rather than 1917, or that Reggio Calabria had transformed into Reggio Emilia, which is at the opposite end of Italy? Leaving incorrect or inconsistent facts in any type of text can lead to unnecessary reader confusion.

But what about all that dialogue and jargon? How is an editor supposed to ensure conformity in a text written in teenage slang, for example? Well, for those of you with teenagers in the house, a quick question in this regard will not only engender a snort of derision, but will also provide the necessary clarification if required. Even if you don’t have direct access to this subspecies of the human race, there are wonderful online resources to keep you up to date, just as there are helpful organisations to keep you abreast of changing terminology and ethical considerations in other areas of your editing life.

‘But there are no rules to fiction,’ I hear you cry. Well, that’s not entirely true, is it? The basic conventions of grammar, punctuation, tense agreement, spelling and so on still apply … just not always with the same regularity as in other texts. The key is to find the pattern and then impose consistency. Think of it as a challenge, a puzzle to unravel. Patrick Ness’s phonetic transcription of language in his Chaos Walking trilogy isn’t unintelligible; it’s innovative, consistent and apt. It’s completely sensible to expect that a teenage protagonist with no formal education might write ‘station’ as ‘stayshun’. In non-fiction or academia, the word ‘anxiolytic’ might have more resonance for its target audience than the term ‘anxiety-reducing’. Ultimately, it’s a matter of context … and uniformity.

Genres, interest and expertise

But that still doesn’t address the elephant in the room – the huge array of genres: thrillers, young adult, erotica, crime, romance, fantasy, science fiction, children’s, and so on. How can an editor possibly deal with all of that?

Well, most fiction editors don’t. Generally, our editing specialities reflect our reading preferences, in the same way that many non-fiction editors focus on their own areas of general interest or academic expertise. We all have our comfort zones. After all, if you read a lot of crime fiction, you are more likely to spot a glaring narrative discrepancy in a similar work – especially if the ‘error’ concerns the plausibility of that one vital piece of information on which the entire plot hinges – than if you usually read magic realism.

And if erotica or science fiction are not your bag – as self-help, politics or Celtic religion might not be someone else’s – then why would you even consider working on them? It’s not compulsory. The beauty of fiction is that there is such a range to choose from that there really is something for everyone. And nowhere does it state that you have to edit fiction to the exclusion of other types of work.

Bookshelves with clouds and birds aboveNovel impact

At the recent 2018 SfEP conference, I attended two excellent sessions on very different aspects of fiction editing. Although some might think that I had little to learn, given that I have been editing fiction in one form or another for a very long time, I would beg to differ, as I always discover fresh ways of looking at old topics. The sessions brought together newbies and veterans, and each had as much to offer to the discussion as the other. One thing that emerged was that everyone could cite novels that had had an impact on them at some point, and were able to verbalise the reasons why. The same applied to their responses to the various exercise texts.

And if you can articulate your reaction to a piece of narrative prose, you can edit fiction!
Fiction is uniquely subjective and everyone has a different – and equally valid – opinion of what works and what doesn’t, and it is this existence of ‘no right answer’ that scares those who avoid it.

It is true that no two fiction editors will ever highlight exactly the same things in the same narrative, although there will be commonalities. Things that bother me may not bother you, and at the end of the day who’s to say that I’m right and you’re wrong, or vice versa? We can posit an opinion, but what the author does with that information is up to them – as with non-fiction editing.

Fiction editors provide authors with an invaluable service. Not only do they tidy up a text, and ensure that plot details tally, the text is reasonably clean, pace is maintained and the chosen spelling conventions are consistent, but they also stand in for the final reader – the book buyer! They let the author know what works and what doesn’t, and so help them to avoid those often minor, yet erroneous details mentioned above, which can ultimately detract from an otherwise great story.

And next…

So, if you are now thinking that fiction editing may not be quite as scary – or as alien – as you first thought and might like to give it a go, or if you have members of staff who would benefit from an overview of how to get started and what to consider, perhaps you should contemplate the SfEP’s online Introduction to Fiction Editing course.

Written by a variety of experienced fiction editors, it offers a broad overview of the basic things to look out for when copy-editing a work of fiction. There are no fixed ‘rules’ as such, but you will hopefully discover that fiction editing is not quite as lawless or ‘unquantifiable’ as you envisage.

Above all, the course provides ample reassurance that, as long as you can justify your opinion in the context of the novel, your very own ‘no right answer’ might actually be correct. But there’s only one way to know if I’m telling the truth, so why not confront your demons and learn how to kill those darlings?

Gale WinksillGale Winskill is an Advanced Professional Member of the SfEP who enjoys a challenge. She co-wrote the SfEP’s online Introduction to Fiction Editing course.

 

 

The SfEP also publishes a guide to Getting started in fiction editing, written by Kat Trail.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Inclusive language – and inclusive editing

By Sarah Grey

At the SfEP’s wonderful 2018 conference in Lancaster, I had the privilege of speaking with attendees about inclusive language. It’s strange, leaving the United States to talk about this topic at a time when inclusion and kindness seem to be very low on my country’s agenda – yet I am convinced that the stakes for inclusive and ethical editing are higher than ever.

Three people sat on bench in front of a wall of photo portraitsEditors have a long tradition of defending accuracy and fairness. We want to do right by our clients and by readers. We value inclusivity. We want to be on the right side of history. Almost all social justice movements, whatever their focus, take up questions of language as part of the struggle for equality and freedom. When that happens, language change, which is usually a very gradual process, becomes conscious, deliberate, and much, much faster. Language and politics are forever catching up to one another, pushing and pulling against one another. Our job as editors is to help language catch up.

There’s no one authority on inclusive language. We all have our own biases and knowledge gaps, and we can’t know what other people’s lives are like. People identify ways where language leaves them out or gets them wrong, and they speak up about it and start getting creative about alternatives and trying new things to see what catches on. It’s important for me to add here that there are debates about many of these things (such as people-first language in discussions of disability), so it’s important to stay up to speed on the debates that affect topics you edit.

Language changes because old words haven’t kept up with new realities, or realities that are newly being confronted. When you have the power of naming, you can frame how other people see you. You are literally setting the terms of the discussion. And that, in turn, allows you to put forward what you need in very material and tangible ways.

Etiquette

My grandmother always taught me that the goal of etiquette is to make sure every guest feels welcome and included. As editors it’s our job to see things from the reader’s point of view, not just our own or the author’s – and to welcome readers into the text and keep them reading. So editing for inclusive language is about understanding where language leaves some readers out and finding ways to invite them in.

But there’s a basic principle that underlies the idea of etiquette, of making people feel welcome, and it works very well when editing: treat people like they’re people. Don’t treat them like they’re lesser, like they’re unintelligent, like they don’t exist or don’t matter.

One way of doing this is othering: calling attention to someone’s differences from the unstated idea of ‘normal’: for example, referring to the Asian doctor or the trans librarian when ethnicity and gender aren’t relevant to the story, or dividing a catalogue page into ‘laptop bags’ and ‘women’s laptop bags’. This treats people from the othered group like a special exception whose identity has to revolve around their difference, or like they simply don’t exist, except perhaps in relation to someone more important.

For example, the Guardian recently tweeted the shortlist for the New Academy literary prize with the headline ‘Neil Gaiman and Haruki Muramaki up for alternative Nobel literature prize’. Only seven paragraphs in did the article mention that ‘the shortlist is completed with two female writers’, Maryse Condé and Kim Thúy.

Silhouttes of people standing, their reflections on the floorSo this is something we can watch for as we edit – is everyone identified equally? Do the women have names? Does the interview ask everyone about their child-care arrangements, or only the women? It’s also common to see men’s names given with a full title and women’s titles omitted, as well as surnames for men and first names for women.

Do these slights in themselves hurt anyone? Yes and no. Small instances that might seem innocuous enough pile up. If you’re labelled as other, these microaggressions, as they’re called, happen over and over, and in patterns and in partnership with more violent incidents. Experience that enough and you begin to see how one feeds into the other.

Ethics

That brings us to ethics – because the way we as editors use language has serious consequences in the real world.

Our decisions can influence what the boundaries of normal, legitimate discourse are. Granted, when someone like Donald Trump is in power, those boundaries are pushed further and further out into the realm of the bizarre, but here we are. The boundaries of legitimate discourse can, depending on where we as a society place them, contribute to or even provide justification for physical violence. And while our decisions can’t shape the course of language change, we do have some influence over how language changes. And in that respect, the decisions we make truly do matter.

In the news media it’s especially noticeable when different words are used to describe the same things done by different people. Words carry assumptions and judgements: Are you a protestor or a rioter? Are you assertive or abrasive? Is your government an administration or a regime? The specifics of these terms vary from place to place depending on who has power. They also function as ‘dog whistles’, political code. When these saturate the media and find their way into people’s worldviews, that can have real consequences, including violence.

There are always competing narratives about any conflict, so when you’re editing material that deals with one, whether it’s intended to be neutral or takes a specific stance, you need to do your research and understand which terms are used by whom and whether terms imply a specific stance or are relatively neutral.

The term illegal alien, for example, sounds like it should refer to Klingons or Time Lords, but it’s been used since the 1990s to describe people arriving at the US–Mexico border from Central and South America. It has largely fallen out of mainstream use over the last decade or two, as human rights activists have pointed out that it is blatantly dehumanising. The AP Stylebook, the New York Times, and the American Library Association dropped the term, with the latter noting that it is ‘increasingly associated with nativist and racist sentiments’. Avoiding such inflammatory terms isn’t euphemism; it’s accuracy.

But this July, the federal Department of Justice sent an email to all US attorneys’ offices instructing them never to use the term ‘undocumented immigrants’ and instead refer only to ‘illegal aliens’. In the context of thousands of immigrant children under the age of five being separated from their parents and detained literally in cages, the federal government is taking steps to ensure that only the most dehumanising possible term is used. That’s not a coincidence.Barbed wireWe see similar dehumanisation of migrants across Europe. Gerald Knaus of the European Stability Institute describes this as ‘a conscious policy to reintroduce language that was previously not acceptable in debate’. Obviously we can’t control what the politicians do, but we can push back when we see that sort of language being treated as normal discourse in the texts we edit.

Customer service

As editors, it’s our job to help our clients convey a message to an audience and to remove anything that gets in the way of that message, like unintended sexual connotations or grammatical mistakes. That includes protecting them from making gaffes or inadvertently causing offence. Often these mistakes come from ignorance or thoughtlessness.

There are also times where the author might not actually be flat-out wrong, but still manages to distract the reader. (This is why I advise writers to stay away from the word niggardly, even though its etymological origins have nothing to do with the racial slur.)

This doesn’t mean that you have to make your clients’ writing bland or inoffensive. Nor does it mean that you should shrug off or ignore or cover up writing that’s problematic. What it means is that if your author is going to offend anyone, you want that to be intentional. As an editor I’m a proxy for the reader, and if something causes a strong reaction in me, I want to be absolutely sure that it’s the reaction the author was going for.

We also have a responsibility to keep our authors up to date. Just as we would correct them if they used outdated tech terms, we can do the same when it comes to social issues. We’re not here to shame our authors or tell them they’re doing it all wrong. We’re here to make the finished product better, so a little tact can go a long way.

I try to assume the best of intentions on the author’s part and start from there. Most of the time it will end with the client thanking you.

Tools

If you’re writing about a specific community, check for style guides published by advocacy groups. If you find yourself working a lot on a specific issue, consider compiling your own stylesheet to help you keep things straight.

If you’re still not clear on certain terms or ideas, though, don’t just ignore them: make the effort to learn. Read books, articles and blogs by prominent members of the community you want to learn more about, consume their art, follow them on social media, or talk to them in person. If you do more listening than talking, you’ll pick up on a lot, not just about what terms people are using but also how people in that community are affected as human beings by language. And if you really need in-depth information you can’t find on your own, consider hiring one of the many people who offer consulting on these issues.

What if you screw up? Try not to get defensive or make it about yourself; listen and try to understand it from the reader’s perspective. Speaking up about oppressive language can be stressful, so the person taking the risk of pointing out your error is doing you a favour. Respect that, learn from it and try to do better. It gets easier with practice.

The bottom line is that if you’re editing only the words on the page, you’re not being thorough. We also have to read – and edit – what’s between the lines. That’s what inclusive editing is all about.

Sarah GreySarah Grey is a freelance editor and writer at Grey Editing LLC in Philadelphia, USA, and the 2016 recipient of the American Copy Editors Society’s Robinson Prize for Excellence in Copyediting. Before becoming a full-time freelancer, Sarah spent several years in the translation industry, where she learned the importance of cultural sensitivity and of understanding a text’s audience. She specialises in academic nonfiction, social justice, and food writing.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Is medical editing for you?

By Catherine Booth

Who can be a medical editor?

Medical editors need all of the usual editorial skills of proofreading and copyediting, combined with some knowledge of medicine, research or biology and an ability to work to tight deadlines. While medical editors come from all walks of life, a scientific degree or practical experience in medicine – perhaps as a nurse, pharmacist or research scientist – is a must.

Although some scientific or medical knowledge is important for a medical editor, it isn’t necessary to be a subject-matter expert. While it is often useful to have a background in the specific area at hand (eg cardiology), this isn’t always practical; as a medical editor, you might be asked to work on a journal article about diabetes one day and another on spinal surgery the next. But you are not writing the material – that is the job of the author, who should be a true subject-matter expert. You are the editor.

Pile of medical booksSo what is medical editing?

Medical editing involves applying standard editorial skills to medical subject matter, but also has some characteristics of its own. Medical editing projects often involve multiple authors, complex sign-off procedures, tight deadlines, exacting house style guides, many (often complex) figures and tables, and heavy referencing.

It is common to work with authors who have English as a second language. Medical editors should feel confident in asking authors for clarification, while acknowledging their expertise. You work as a team with the author: He or she is the expert in the medical subject matter, while you are the expert at getting across a particular message with clarity and accuracy.

Where could I find work?

Various people and businesses employ medical editors. Individual authors will often approach a medical editor to ‘polish’ their manuscript before submitting it to a journal, while bigger employers can include universities, publishers, medical or scientific societies, research institutions, government departments, medical communication agencies, pharmaceutical companies and patient-support or research-based charities.

All of these organisations have different characteristics, and the materials you will be asked to work on will vary according to the client. Journal publishers will ask you to proof PDFs or edit manuscripts in Word, for example, while medical communication agencies will often ask you to proof conference posters or to edit slide decks in PowerPoint.

With this in mind, you need to have a variety of skills in your toolbox and to be happy with working with a range of programs. In each case, one thing that it is important to understand as a medical editor is the audience for the materials you are working on; the acceptable level of complexity and medical terminology will vary depending on whether the material is aimed at researchers and clinicians or the general public.

What next?

Perhaps you’re already a competent editor with some kind of background in health and/or science and becoming a medical editor sounds like a great idea. Or you’re working within medical publishing and feel that you could do with a bit of training to formalise what you’re doing every day.

The SfEP’s online Medical Editing course aims to give you a general overview of the specialism of medical editing, and the chance to practise some of the key skills that you will need. It includes exercises to hone your skills, plus model answers to check you’re on the right track. You will also have support from an online tutor, so there’s someone available to answer your questions and give advice on next steps.

Could you be a medical editor? The SfEP’s Medical Editing course gives you one way to find out.

Shelf of medical books

Catherine Booth has been a freelance medical editor for more than 15 years, and works with a range of publishers and medcomms agencies. She is an Advanced Professional Member of the SfEP and the writer of the organisation’s Medical Editing course.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Standards and the SfEP

Standards, in one way or another, lie at the heart of almost everything that the SfEP does. When Norma Whitcombe called the meeting in November 1988 that resulted in the formation of the Society, one of the agreed aims was to encourage high standards based on high-quality training and engagement with publishers. Thirty years later, while our horizons have expanded to include much more than just traditional publishing, our mission remains the same: to uphold editorial excellence.

A hand writing words: knowledge. learning, experience, skills, ability, competence, training, growth

From the outset, the SfEP has sought ways not only to encourage high standards but to measure them as well. As early as 1996 the Accreditation and Registration Board was established, and a rigorous accreditation test, supported by a programme of training, enabled members to become accredited proofreaders. More recently, the then tests and mentoring director (now our chartership adviser) Gerard Hill established our current online basic editorial skills test, launched in 2014 and supported by a detailed editorial syllabus. Our system of membership levels rewards excellence in editorial practice while offering potential clients the reassurance that members in professional grades have the necessary training, knowledge and experience to provide the quality of service that they require.

Anyone who uses the services of an editor or proofreader would expect the person they commission or employ to have the skills to do the job. But how can they be sure? If you were looking for a plumber to fix your boiler, or seeking advice from a medical consultant, you would expect them to have taken the necessary training and hold the certification to prove it. Clients should have the same expectations of an editorial professional, which is where the SfEP comes in.

Anyone who aspires to become a Professional or Advanced Professional Member of the SfEP must meet the standards expected of the grade, and every application for those membership levels is independently and anonymously assessed by our Admissions Panel, made up of knowledgeable and experienced members of the Society. Their assessment requires evidence of suitable experience, know-how and training, together with a commitment to continuing professional development. As a result, you can be confident that a member of one of the SfEP’s senior grades will know what they are about.

In support of its mission to uphold excellence the Society has created a detailed code of practice, first issued in 1995, to which all members must adhere. We have also prepared model terms and conditions that can be used or adapted by members to enable them to establish a professional relationship with clients, and to help clarify understanding and expectations, for both parties, of the work that is being undertaken. In the unlikely event that anything should go wrong, the client has recourse to a rigorous and independent complaints procedure, which has been revised and updated this year to ensure that it meets and exceeds the standards that would be expected of our Society.

The heading of ‘standards’, then, encompasses many aspects of the SfEP’s work, but the concept of excellence is a thread that runs through all aspects of what we do. Professional and Advanced Professional Members are expected and encouraged to undertake continuing professional development to ensure that they refresh their skills and keep up to date with current practice. The Society’s training programme offers courses, many of them available online, to support both new and established members. Looking ahead, our existing basic editorial test will in due course be complemented by an advanced test to help ensure that members have demonstrated unequivocally that they have the knowledge and experience expected of them.

Our quest for standards in editing and proofreading, however, goes further than simply ensuring that our members have the skills that clients expect and require. In seeking to become a chartered institution, the SfEP’s aim is to ensure that editorial excellence is universally recognised and promoted, so that anyone seeking the services of an editorial professional can have confidence in the quality of the service they will receive. But if you are looking for a copy-editor or proofreader then there’s no better place to start than the SfEP’s online directory.

Ian Howe, the SfEP's standards directorIan Howe has been a freelance proofreader and copy-editor and an SfEP member since 2004, and joined the Council as standards director in 2017. Based in north-west Cumbria, he has worked on a wide variety of subjects and is also a distance learning tutor with the PTC.

 

Posted by Abi Saffrey, SfEP blog coordinator.

PerfectIt Cloud: what Mac users have been waiting for

Simone Hutchinson reviews Intelligent Editing’s new PerfectIt Cloud, the first version of the respected consistency and error checker to work on Macs (in Word 2016).

The full version of this review first appeared in the July/August edition of Editing Matters, the SfEP magazine. (Note: Simone was using a beta version so that this review would be ready in time for the official launch of PerfectIt Cloud.)

Introduction

Having been invited to review PerfectIt Cloud for Mac (beta), my main concern was that my relatively meagre experience of using editorial support software would prevent me from making the most of PerfectIt and limit the value of my report. I hope that what follows will help you decide whether to purchase the software; this review should be relevant to Mac users who have not used PerfectIt before.

I tested three different kinds of Microsoft Word document: a US geology article (~2000 words), a non-native English law journal article (~6000 words) and a UK law book (~46,000 words).

Is it easy to use?

Installing and setting up PerfectIt Cloud is straightforward.

If you are using PerfectIt Cloud for the first time, you will be presented with an outline of its features. This start-up introduction to the software emphasises its role as a style sheet and consistency tool. If you are an experienced editor, I think these start-up welcome screens are the only preparation you need before using the tools. PerfectIt is so easy to use that I do not think there is a need for a new user who is an experienced editor to require training on PerfectIt, although watching the demo videos would still be useful as I feel that audio and visual walkthroughs help cement what is learned by trial-and-error practice. However, for editors who are new to the profession, some training in the use of style sheets and consistency checks would be extremely helpful prior to using PerfectIt.

The sidebar has an intuitive design that presents its information clearly, although there is one minor flaw: the floating ‘i’ icon that appears in the right-hand corner of the PerfectIt panel sometimes obscures the ellipsis button.

Screenshot of PerfectIt Beta information menu

PerfectIt’s information menu

At each stage of the analysis process you are presented with the option to view the location of the suspected error and to fix it. If a long list of locations is offered, you can fix items selectively or have them all done at once. This is particularly useful if your document contains quoted matter (where you don’t want to change the source’s spelling or style). If you accidentally choose ‘Fix’, don’t worry, there’s an Undo button. Being able to review every word that PerfectIt flags up is useful for compiling a word list in your style sheet.

When testing PerfectIt on a legal text (a book on interpreting housing legislation, aimed at the legal practitioner), it helpfully pointed out that the style setting I applied at the start of the analysis (UK spelling) prefers the spelling of judgement with the ‘e’, but that ‘judgment’ may be required in certain legal contexts. Well done, PerfectIt!

Screen shot of PerfectIts hyphenation of phrases section

Option to fix an item or move to the next step

At the end of the process you are able to see a list of the changes that PerfectIt applied, by clicking on the button ‘See what PerfectIt did’. This list has a useful ‘Copy’ option, which means you could maintain change reports for your clients (or your own use). And other reports are offered for viewing at the end of the analysis: ‘Table of Abbreviations’, ‘Summary of Changes’, ‘Text in Comments’.

Screenshot of PerfectIt Cloud's navigation and test page

Click the ellipsis to reveal the full test list.

Will it save me time?

PerfectIt saves time in the workflow by automating a useful range of spelling, punctuation and style checks. It analyses the text to identify inconsistencies in spelling, capitalisation in headings and phrases, hyphenation of phrases and words, abbreviations defined twice or not at all or not used, brackets and quotes left open, and list punctuation.

PerfectIt also lists abbreviations without definitions, which, in a document that contains numerous instances, saves you time by providing you with them all in one list — compared with the process of discovering them manually one by one and adding them to a separate list. You can deal with them all in one go with PerfectIt. However, the ‘Table of Abbreviations’ report option at the end of the process did not work in the Beta version (but should be fixed in the release version).

Without the aid of software automation tools, the time it takes to perform a standard copy-edit on a set length of text will vary from editor to editor. I hope the following timings can be compared with those of your current workflow. The legal book of 46,000 words took me just under one hour to fully check, using every possible test in PerfectIt. The mining article took less than ten minutes. The non-native English law journal article took around 15 minutes. Completion of individual tests can take up to 30 seconds, but on average they took around five seconds.

Will it improve my work?

One of the advantages of PerfectIt is that it trains you to think methodically about your workflow, which in turn helps you become a more efficient editor and writer. After repeated use of its step-by-step approach, combined with clear visual walkthroughs of each step, you will memorise a large part of your editorial checklist and be able to quickly prioritise certain tests according to the kind of document you are working on. While I am not suggesting that this is the death of pen-and-paper checklists, which by the act of writing them provide a similar kind of memory training, there is no doubt that this software helps you to focus more on the work. It does the menial work for you, but makes that menial work visible and requests your approval at each step, so you will not forget essential editorial processes. Consequently, you will spend less time and mental effort on the activity of checking for problems while increasing mental effort on the job from a management perspective. PerfectIt is your editorial assistant and even a bit of a copy-editor. You can become a better editorial project manager by using it.

By saving you time through greatly reducing redundancy in your workflow, PerfectIt also minimises time spent typing. For people with health conditions affecting the hands, this unexpected benefit will be a welcome bonus.

What are my criticisms?

In terms of functional problems with the PerfectIt Cloud, I only noticed some slightly buggy behaviour of the report options and the location of the floating information icon. These should be relatively easy to fix by the time of release, hopefully. A usability improvement might be to move ‘Check Consistency’ from the styles menu to the tests menu.

PerfectIt Cloud is not a comprehensive editor’s toolkit. It does not check footnotes, table or illustration captions and their cross-references, URLs, header or footer matter, or page or section breaks, and does not offer any options to work with Word styles. Neither is it designed to check for inaccuracies in grammar. For editors keen on customisation options, PerfectIt Cloud might seem limited – but this is more of an observation than a criticism (and the developers do promise these are coming in time).

Is it worth upgrading to Word 2016?

You need to have Word 2016 to run PerfectIt Cloud on a Mac. I upgraded from Office 2011 to 2016 this year, and have found there to be a few useful benefits. Importantly for editing, the review panel is better. The redesign of the menus in general improves the logic of menu items as well as their visual presentation (less cluttered now, and simpler). Word 2016 feels lighter, better organised and clearer. These things probably have helped me focus better on projects. With all these benefits, I have found the upgrade worth it.

I can see that using PerfectIt will increase my productivity and reduce the psychological resistance I put up to dull tasks. It will make the physical aspect of editing work easier (less typing). It will help me become a better project manager.

The price of PerfectIt Cloud for SfEP members is $49 per year (available via the SfEP website). I think it is well worth it, especially considering that further features will probably be added.

 

Simone Hutchinson

Simone Hutchinson began freelance editing in 2017 after nine years in editorial support and house editor roles in academic publishing. In February 2018 she set up Orlando Press.

 

 

Posted by Abi Saffrey, SfEP blog coordinator.

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

Don’t fear the forums

Hello, my name is Amy and I am a forum lurker [wave].

I’ve been a member of the SfEP for four years and, while I read the forums almost every day, I am more than a little embarrassed to say that my first forum post was to ask people if they wanted to be interviewed for this article. But in doing so I did break my non-posting streak (yay!).

Chameleon

My lack of contribution is not because I think there’s nothing for me to learn or that I never have any questions. Au contraire: I’ve learned (and continue to learn) some brilliant stuff from the forums. They are an excellent source of support and information in what can often be a solitary profession. I also have questions on a daily basis and quite frankly, my office orchid is a horrible conversationalist.

What has, in the past, stopped me from posting is (a) a basic fear of sounding like a dunderhead or (b) there being a typo or grammatical inaccuracy in my question. I’ve lost count of how many posts I have started and deleted as a direct result of these fears.

Forum fears

From the responses I got to my forum post, I believe there is a robust community of lurkers out there. I also believe there is one overwhelming barrier to contributing to the forums: fear.
There appear to be two types of forum-related fear: (a) of making a fool of yourself with a silly question or a mistake and (b) fear of others’ reactions and tactless replies. While the forums are a rich source of support and insight, it appears they are also a source of much angst for us lurkers.

Ally Oakes, for example, told me that she ‘didn’t dare’ ask anything on the forums for months after joining the Society, partly due to fear and partly due to a feeling of not having anything to say.

Claire Langford has posted in the forums a few times in the last eight months, but still feels hesitant. She says that the limiting factor for her is experience: ‘I very rarely post a response to a question, largely because I don’t yet feel I am enough of an authority to give advice to other proofreaders and copy-editors.’ When she does post, she will ‘check, re-check and check again’ any posts due to an ‘agonising fear’ of there being a spelling mistake or grammatical error.

I recognise and empathise with both Ally’s and Claire’s feelings, but wise words from John Espirian, who was fundamental in setting up the forums, help put the fear of forums into perspective:

Even the best editors make mistakes. The forums are a private space away from prying eyes, and the community is supportive enough to overlook these things. So I wouldn’t worry about the odd typo slipping into your text – it happens. Don’t let this fear hold you back from posting questions, as you’ll be missing out on the collective wisdom of hundreds of experienced editorial pros.

This is a sentiment echoed by Claire and Ally, who variously describe the forums as ‘a godsend’ and a source of really useful snippets of information. According to Ally, ‘The fear is natural and isn’t a bad thing; it’s a part of starting something new.’ I too can attest that I have only had very helpful and thoughtful responses to my literal cry for help.

Many members have told me that they feel access to the forums is one of the main perks of SfEP membership. Statistics kindly provided by John show that there are 1,804 forum users, 32% of whom are active, which means they have logged into the forums at least once in the last 30 days. You can then figure out how many fellow lurkers there are when you see that only 231 active users have at least 50 posts. This shows something that we all probably know already, that some users feel more confident posting than others.

Which leads nicely into the second fear – that of replies that may make you feel foolish or upset. Thankfully, these seem to be few and far between, but there are members who have been put off contributing to the forums as a result of an ill-considered response that was perceived to be unhelpful or unkind.

It is worth remembering when replying to a forum post that the contributor may have spent ages writing and rewriting their question or comment, trying to make it perfect. John sums it up nicely: ‘Be kind and clear. Remember that you didn’t always know it all (and you probably don’t even now).’

If you look at the forums you will see questions from people of all membership levels. There are few who believe they have all the answers, and the forums are a space in which to seek advice and information from virtual colleagues. It is an opportunity we should all make the most of.

How can you beat the forum fears?

So how can you beat the forum fear and confidently make your first post? My first piece of advice is not to overthink it. One Advanced Professional Member suggested I ask about the best kind of printer – it doesn’t have to be a complex or high-brow question to get you started.

Secondly, don’t hover over ‘Submit’ for too long. The longer you wait, the more likely you are to press ‘Delete’ instead.

John Espirian also has some tips to help assuage potential first posters’ nerves:

  1. Check out the link at the top of the Newbies page, which gives you a list of hints and tips to get you started.
  2. Make use of the search function before posting. Your topic, or even specific question, may have already been discussed. Even if it’s not exactly the answer you need, it might help you to tailor your question.

Given the calibre of the members of the SfEP, it can be daunting to contribute to a conversation, but my advice is, don’t underestimate the value of what you can add. Even if you are a relative newcomer to the industry, your life experience or unique insight could be really valuable and much appreciated by the community. And a new voice is always welcome. So, when it comes to the forums, in the inimitable words of Dr Susan Jeffers, feel the fear and do it anyway.

Amy ReayAmy Armitage-Reay is an ex-forum lurker and Professional Member of the SfEP. She started her professional life as a reporter and has run Ethos Editing (www.ethosediting.com), which specialises in creating academic content, since 2009.

 

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

Wise owls on working with non-publishers

Freelance copy-editors and proofreaders are not restricted to working with traditional publishers, and in the latest SfEP wise owls blog the parliament shares advice on how to gain work with non-publishers.

Margaret Hunter, Daisy Editorial

It continues to surprise me how many newbies to our profession lament the difficulty of getting their first paid jobs because they haven’t managed to secure work with traditional publishers. I guess that has something to do, perhaps, with a conventional notion of our profession as people busy putting red squiggly marks on books. But, if you think about it, the proofreader’s or editor’s oyster is anything that uses words. Perhaps it just needs some wider thinking?

In the real world, a great many members of the SfEP don’t spend all their time working on books, nor for traditional publishers. And the range of clients, things worked on and tasks paid for is wide indeed. Do an audit of your contacts, past employers and interests, and then list the types of things that get written, and you’ll already have a fair list of people to approach for potential work.

But to do this successfully you need to have the right mindset. What is it that you’re offering? What is it that your clients need? (Hint: they might not know!) What value can you add to your clients’ texts? Ah, now we’re getting somewhere.

Perhaps working for non-publishers won’t look the way you expected it to from your proofreading course or editing training. It’s not about taking a set of ‘rules’ or techniques you’ve learned and pushing your clients’ work into that shape. That would make our reading pretty boring and monochrome.

But the essence is the same. Our job is to help clients get their message across and to ‘smooth the reader’s path’ (see the SfEP FAQs).

In practice, that means you need to find clear, plain language ways of explaining what you do and how that can be of benefit to your clients. It means experimenting or being flexible with your working methods to find out what suits your particular niche.

And when you work out the value you are bringing to clients, you will realise that what you can bring to the table is immensely valuable, and should not be undersold.

Abi Saffrey

All but five months of my eight-year in-house career was spent working for ‘non-publishers’: business information providers and a non-governmental department body (quango). Each had its own (small) publishing team, and each followed editorial processes very similar to those used by traditional publishers. They may use terminology differently, and store and publish content in different ways, but the principles and the skills required are the same.

As a freelance, the main difference between working with non-publishers and working with publishers is the nature of the products you work on. There are rarely 100,000 words to deal with, but the publications are less likely to be one-offs: annual business reports, quarterly corporate magazines, weekly blog posts, press releases. Sometimes a cheerful, colourful staff magazine is just what’s needed to break up a dense academic social policy monograph.

To get work with non-publishers, you may need to market yourself differently – talking about what the outcome of your work is rather than the nitty-gritty details of what you do – but those companies do need your skills. They appreciate the value a knowledgeable and professional editor or proofreader can bring to their content, and to their brand.

Sue Browning

Working for non-publishers like businesses and charities, or even individuals, can be varied and interesting. Businesses often have deeper pockets than publishers, so the pay can be better too. In my experience, they usually pay promptly and with no need to chase (though with a bigger business you may have to accommodate their regular pay run). As to how to find them – I have found face-to-face networking to be the most common way to land business clients, and LinkedIn has also proved valuable – both of these have brought me work from small companies in my region, who often want to keep their spending local. More-distant clients tend to find me via my website. This is distinctly different from publishing clients, almost all of whom find me through the SfEP Directory.

Like indie authors, which we covered in an earlier post, non-publishers don’t necessarily know our editorial terms of art. In fact, they don’t care what it’s called, they just want their text to be correct, clear and professional. So it’s vital to establish the scope of the work. I’ve done everything from casting a quick eye over an email newsletter to what ended up being a complete rewrite (including research) of a large commemorative publication. It’s also essential to understand their brand voice (if they have one), but once you’ve established a good working relationship, they tend to give you pretty free rein, and they don’t want to be bothered with explanations or unnecessary questions, which means I can be quick and decisive.

I find it pays to be flexible in how you work. It happens that many of the individual jobs I receive are small (I’ve proofread text that was to appear on a mug), so I try to fit them in within a day. My payment model is different too, in that I usually charge by the hour rather than working out individual project fees, and I usually invoice monthly.

One of the potential downsides of working for larger businesses is that a document will often have many contributors, so you may find yourself working for too many ‘masters’ making last-minute and contradictory amendments. I try to solve this by insisting on being the last person to see the document, and not being lured into working on it in Google Docs at the same time as it is being written!

Margaret HunterAbi SaffreySue Browning

 

 

 

 

The parliament: Margaret Hunter, Abi Saffrey and Sue Browning

Why blog?

Freelancers seeking advice on marketing their business online may well be advised at some stage to write a blog, and many SfEP members do already blog regularly (see our monthly round-ups for some of the great content that members share). But what if you are busy running your business and are concerned that writing a blog isn’t the best use of your valuable time? Or you are a newbie and feel you have nothing to write about? Or, astounded by the sheer volume of editorial blogs already out there, you feel you have nothing to add. These are all legitimate concerns, so here we examine some of the benefits of blogging for editorial pros – and others. Perhaps we can encourage you to take the plunge.

Increase website visibility

If you have incorporated a website into your marketing strategy, a blog hosted on the site is a fantastic way to improve the visibility of your business and establish your professional online identity.

In addition to demonstrating your editorial skills, each blog post will generate a new indexed page on your website for search engines to find, and this will increase the volume of traffic to your site. Your content may also generate what are known as long-tail search queries by search engines and your blog will appear when someone searches for information on that specific topic.

A blog can also generate inbound links when others use your content as a resource by generating referral traffic. The SfEP shares recent posts published by members on their business websites via Twitter, Facebook and the monthly social media round-up, and Book Machine republishes SfEP blogs (with the author’s permission, of course!).

But I don’t have a business website…

Don’t worry if you don’t currently have a business website as you can still raise your online profile. You could set up an independent blog on a site like WordPress or Blogger. Another option is to be a guest blogger for an established site. The SfEP blog relies on contributions from members and guest writers, and is a wonderful opportunity to share your ideas, expertise and contact details with a wider audience, which may lead to new business opportunities. Don’t be afraid to ask blog coordinators if there are any opportunities for guest writers or to contact other editors about collaborating on a piece for their site (many already publish guest posts). This can be a great opportunity if you have something specific you want to share but don’t have the time to commit to writing a regular blog of your own.

Showcase your expertise

A blog is a great way to share your editorial skills with your current client base and attract new customers by reaching a wider audience. If visitors to your blog find engaging content and valuable professional advice they will see that you are up to date in your field and have fresh business ideas. Regular blogging will also enhance your reputation with current clients and build trust with potential new customers. They are also more likely to check out your website in the future, potentially leading to the formation of new long-term business relationships.

Many blogs by editorial professionals are aimed not at clients but at other professionals. Publishing helpful advice and tips establishes you as an expert in the field and can lead to very fruitful long-term collaborations.

If you find you are answering the same questions again and again, from customers (what’s the difference between editing and proofreading?) or from other editors (what training do you recommend? How do I find my first job?), you could write a blog post on the subject and simply direct enquirers there.

Develop new skills

In addition to demonstrating existing skills, blogging can also help you develop new highly valuable ones. As well as practising your writing skills, you may also improve your knowledge of website design and digital marketing when you share your blog on social media. Before you know it, you will be creating infographics or sharing video blogs on your own YouTube channel…

Writing a blog makes you think about your business more deeply, opens your eyes to what’s going on in your field and generally increases your awareness. In conducting research for your blog, you will learn new things, discover different ways of working and other ways of looking at problems. While you may start out thinking ‘what am I going to write about?’, if you blog regularly and engage with others both there and on social media, you will start to see ideas for content all over the place.

Start new conversations

Linking your blog to social media will not only increase the volume of traffic to your website, it will also generate new conversations that will build your professional network. This gives you resources to call on when you need a skill you don’t already have or want to refer a customer to someone you trust. Conversely, being seen as knowledgeable in your field makes you a go-to person for those looking for help on a project or someone to pass a job on to.

But what can I add to what is already out there?

A quick rummage around the internet will reveal a staggering number of high-quality blogs from editorial professionals bursting with useful content, so you might legitimately ask what you can add. Surely it’s all been done before? Well, a lot of it has, but each of us has a unique take on aspects of our business, whether it’s a novel way to chase up unpaid invoices, a new skill you’ve acquired, or something in the news that has made you think, there’s always something new that can be said. Also, just because you’ve seen it all before doesn’t mean your audience has.

Newly qualified copy-editors and proofreaders shouldn’t be afraid to write a blog either. Newbie blog topics could include training courses, conferences or resources you have found useful; sharing your enthusiasm to learn and expanding knowledge will help to establish your business. Your blog posts will become part of your online portfolio that demonstrates your developing editorial expertise.

A word of warning

Regardless of your editorial experience, any blog you publish must contain original high-quality content that you can update regularly. It is also a good idea to have your blog posts proofread by someone else. After all, aren’t we always telling customers how difficult it is to proofread your own work? Perhaps you can arrange with another editorial blogger to proofread each other’s posts. If you can’t do that, leave a freshly written post for as long as you can and give it another critical read-through before hitting ‘Publish’.

Bear in mind that a professional blog requires commitment to reflect positively on you and your business, and a blog from an editorial pro needs to be correct and to read well. Of course it can be informal and friendly and reveal your personality, and most people appreciate that blog posts are sometimes produced very rapidly in response to breaking news, but a post littered with typos will not reflect well on an editorial business.

Share knowledge and experience and engage with your community

In sum, a blog is a great way to share information and experience and to enhance your online profile. It allows you to express your personality and build your brand. Engaging with other professionals helps establish you as a serious player and broadens your network of trusted individuals who can provide mutual support. There’s no doubt that blogging demands time and effort, though, and if, after reading the benefits, you still decide it’s not for you, then that’s good too.

Sue Browning

Written and posted by Sue Browning and Tracey Roberts, SfEP blog team

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

There’s more to being a proofreader than the ability to spell…

To celebrate the launch of our three-level suite of proofreading training courses, the SfEP ran a competition to ask people what they had discovered about the profession of being a proofreader and why training for the role is important. Our winner is Stephen Pigney, who is making the move from academia to launching his business as a freelance proofreader. Here is Stephen’s winning entry.

Wiser now than I once was, I make this confession of former folly: for a long time I believed that proofreading required little more than the ability to spell and punctuate, a sound grasp of grammar and a hawkish eye for detail. A text, a red pen (most likely of a metaphorical and digital kind) and someone reading and correcting the text: this was the image my mind conjured up of proofreading. The process was, I supposed, simultaneously interesting and mechanical. Perhaps it is natural to imagine unfamiliar professions in simple ways; no doubt many consider an aptitude for quick thinking and persuasive argument sufficient to make a lawyer. If such misconceptions encourage ventures into a profession, then they are not without merit. We all have to begin somewhere, and simple-minded confidence is not the worst place to start. So it was that, self-assured about my abilities and knowledge, I forayed into proofreading – and soon learned that I knew far less than I had imagined.

Fill the gaps in your proofreading skills with a course by the SfEP

Fill the gaps in your proofreading skills and knowledge on one of the SfEP’s respected courses

I discovered that there is more to proofreading than meets the eye. I had been mistaken to think only of a proofreader’s relationship with a text, for I had missed how the proofreader stands at a crucial intersection between different people. The eyes of a hawk are not enough; the proofreader needs to see a text as an author, a typesetter, a publisher or a reader sees it. Proofreading is a delicate art of facilitating communication; it consists of honouring and respecting an author’s voice, a typesetter’s skills, a publisher’s vision and a reader’s needs; it requires precision, judgment, tact and informed understanding. Texts are complex artefacts, embodying language, ideas, creativity, design, meaning and (frequently) commercial intention – and this is before they take on life in the hands and minds of their readers. In the process that begins with an idea and ends with a publication, the proofreader has, perhaps uniquely, both an intimate relationship with the text and a connection with each interested party. Yet – and this too must be learned – the ideal proofreader must strive for invisibility: proofreading is noticed not when it is done well, but when it is done ineptly or badly.

‘…proofreading is noticed not when it is done well, but when it is done ineptly or badly.’

There has been much more I have learned: how to follow a brief; how to mark a text; how to work with various formats; how (and when) to raise a query; how to use style guides. I became familiar with numerous resources and how to utilise them; I became acquainted with typographical and publishing conventions, with workflow, schedules and project management, and with the role played by budgets and timescales. And I learned how different texts have varying requirements and present distinct challenges. A marketing brochure, a retailer’s catalogue, a local newsletter, a scholarly monograph, an illustrated book, a blog post, a glossy magazine feature, a novel – all have their own characteristics, demands and potential complications.

A gradual accumulation of experience has contributed to my growing knowledge. Above all, however, I have benefited from training. Good training (such as that offered by the SfEP or PTC, with their extensive resources, expert tutors and industry recognition) is about professionalisation. I did not so much learn this as have it confirmed: fortunately, when I set out to establish myself as an editor and proofreader, I had the good sense to put training at the heart of my plan. It was through training that my understanding of the proofreader’s role deepened; it was through training that I learned skills and best practice; and it was through training that I became familiar with a wider range of texts than I would have encountered through practice alone.

Acquiring, improving and reinforcing skills and knowledge is reason enough for my professional vision to focus on training – especially given the rapidly changing and digitally evolving world of writing and publishing. But there is much more to training than this. To join a training programme is to connect to a body of knowledge, practice and experience; it is a gateway to recognition, status and a community. It is also about building and strengthening self-confidence. As a freelance proofreader, endeavouring to manage and grow my business from scratch, robust training has given me the confidence that I can develop the skills, expertise and flexibility necessary to enhance my reputation, market myself successfully and, most importantly, provide an exceptional proofreading service. This is why training has been and will remain important to me: it constitutes the fertile foundation from which my business can flourish and my practice can excel.

Stephen PigneyStephen Pigney is a former (although still part-time) academic historian. After many years of occasional proofreading and editorial work, in 2017 he set up his full-time editorial business (stephenpigneyeditor.com). As well as editing, he enjoys thinking and writing about many topics, and even pens occasional fiction. He is based in London.

 

Posted by Margaret Hunter, marketing and PR director

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

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Volunteering can be a good way to get experience

By Tracey Roberts

Although I have been doing editing and proofreading tasks for my company for a while, I knew I needed proper training plus experience of working in different settings to make sure my skills were up to scratch. I’m sure many new editors and proofreaders face the same dilemma – how do you get that vital work experience to show that you know what you are doing?

Not every proofreader and copy-editor begins their freelance career with a ready-made portfolio of relevant experience to offer potential clients. Some editors start their freelance careers after working in-house for several years and therefore begin with a wealth of experience and industry contacts, while others begin from scratch following a career change or a desire to achieve a flexible work–life balance. Many new editors begin by undertaking training, including the range of excellent courses offered by the SfEP. But what can new editors do next to consolidate their newly acquired skills and develop their résumé?

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While it’s tempting to offer your services for a reduced price or even for free so that you can build up a client list, there are a number of important questions to consider before volunteering your valuable time:

Who should you volunteer with?

An obvious (and possibly rewarding) option is to help a charity or non-profit organisation. Smaller charities may lack the funds to hire a professional editor to assist with a newsletter or website and would welcome your help. But don’t assume so – many charities have healthy budgets for such things and can afford to pay. Many regions in the UK have volunteer centres that help local charities, and you can find your local centre on Do-it.

Or you could help an organisation you are personally interested in, for example a poetry newsletter or the SfEP. This blog relies on a team of volunteer proofreaders who check posts prior to publication and others proofread our web pages, training materials etc.

What will you get out of it?

This is important. If the person or organisation you are volunteering for doesn’t know what’s required of a good editor or proofreader, how valuable will their testimonial really be? Will you actually get any constructive feedback? Working for a client (or especially a friend) who doesn’t understand the process (and while you are still learning yourself) could turn into a tricky or negative experience.

Volunteering might allow you to network and build useful contacts, so factor in who you want to work with in the future to your decision about which organisations to approach. Spending a few hours helping the right person could provide a valuable reference for marketing material and possibly lead to other organisations in the same field hiring you in the future.

What skills do you want to practise?

While any experience gained could be beneficial, it’s important to try to match your efforts with your overall career goals. If you want to copy-edit for biomedical journals you may get more benefit from editing a friend’s science PhD thesis than a website publishing short stories, for example.

How much time are you happy to provide?

In the early stages of your freelance career you will be busy building your new business and need time to develop your marketing strategy, website etc. All of these tasks take priority over volunteering. Any time spent volunteering must fit around the creation of your new freelance business, and other important personal commitments, to ensure a healthy work–life balance is maintained. There will come a time when you are too busy with paid work to volunteer and must decline future opportunities (see Laura Poole’s recent blog How to say ‘no’ for advice).

Remember too that if you work for a client for free, or even a reduced rate, it will be very difficult to start charging at full rate when asked to take on future projects.

Mentoring – a good option?

One opportunity that will provide useful practice and good feedback is the mentoring programme offered by the SfEP. All mentors are experienced SfEP Advanced Professional members who share examples from their paid work for mentees to proofread or copy-edit. Mentees have the opportunity to work on real-world projects and receive feedback based on the mentor’s experience.

If you would prefer to develop your skills in a less formal manner, check out Liz Jones’ recent blog post Practice makes (closer to) perfect.

I was fortunate to be invited to coordinate the SfEP blog, and I have gained valuable experience in this voluntary role. I have worked with the editors who regularly contribute to this blog and learned so much – exactly what the right volunteering role should provide. I hope the advice provided helps you find the ideal opportunity to get some quality experience and achieve your goals.

If you are interested in joining the SfEP team of volunteer proofreaders, please email blog@sfep.org.uk

TraceyTracey Roberts is an Entry-Level member of the SfEP. She currently works for the Cochrane Schizophrenia Group based in Nottingham and is the SfEP blog coordinator.

 

 

Proofread by SfEP Entry-Level Member Sarah Dronfield.

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