Category Archives: Professional development

How to guides to help with your professional development.

My first steps into proofreading made me fit!

By Carolyn Clarke

Yes, it’s true, but allow me to start at the beginning.

I wanted to use another of my hobbies as a way of making a living. Two of my loves are plants and words. The former I had transformed into a successful gardening business over the last seven years. The latter started when I was a child, spending my pocket money in the local bookshop.

I love my gardening work but as a 50-something I realised that this amount of physical hard work could not go on for ever.

Enter my love of words. I was aware that I spotted mistakes easily. I liked consistency, tidiness and balance: proofreading was the way to go. And I knew that the outdoor physical could dovetail nicely with the indoor cerebral – Yin and Yang.

Getting started

With this no-brainer decision now made, I bought a new laptop and enrolled on an online proofreading course. It was a toss-up between the two reputable providers, the SfEP and the PTC. I chose the latter’s Basic Proofreading: Editorial Skills One, which took me nearly a year to complete. Before I did the course, I wondered if it was even necessary (I can already spell can’t I?!) but soon realised that, yes, it was very necessary. I didn’t know how much I didn’t know until I started the course.

I enjoyed the course immensely although it was a little biased towards working on paper with BSI marks and less focused on working digitally with Word or PDFs.

From the essential books that a proofreader needs I bought the New Oxford Spelling Dictionary, because it shows word breaks, and Trask’s Penguin Guide to Punctuation. I intended to buy New Hart’s Rules: The Oxford Style Guide and the New Oxford Dictionary for Writers and Editors but realised I could access these online with my library card. Excellent.

I wrote a profile about myself and was proudly listed as a proofreader on the PTC Directory. Competition is tough though, so I knew it was no use just sitting around waiting for possible work to come in: I had to be proactive, but how?

I was allowed to attend three local SfEP group meetings before I joined so I went to two different groups. Arriving early at the first, I was greeted by the one other early SfEP member and received my first gems of advice: read everything by SfEP gurus Louise Harnby and John Espirian, and have you joined findaproofreader.com yet?

I started to read lots online. Everything I read suggested something else that I needed to write or do; I had entered a very enjoyable internet black hole and was rapidly list-making in order to prioritise my tasks.

I created a logo for myself and set up various social media pages on LinkedIn, Facebook, Aboutme and FreeIndex knowing I could always add to them as I gained more experience, work and, importantly, good reviews.

Getting work

Approaching one of my long-time gardening clients, I offered to proofread their business website at a reduced rate. No, they said, we will pay you SfEP rates. I was jumping with joy and raring to go; I could now use my logo-emblazoned invoice created from a Word template. A couple of real clangers stood out: ‘Sometimes a simple and sort video can cut though the fog of technology’, and ‘Sign up our newsletter’. Hilarious. Armed with a review and some experience I logged back on to my social media platforms…

My enthusiasm boosted, I trawled sites online and found a theatre website that was littered with schoolboy (and girl) errors (‘thrown’ instead of ‘throne’, [groan]) and yes, he would be happy for me to proofread it in exchange for some theatre tickets and a review of my work.

Getting fit

I was now spending hours glued to my laptop. Sitting is alien to a gardener so I started to sandwich my computer work with activity: a five-minute plank and ab workout, ten minutes of yoga, a fifteen-minute run/walk and, believe it or not, skipping with a rope! (It is astonishing how tiring it is now compared to when I was a child!) For a longer break, I walk for at least an hour.

I practised working with Word and using Find and Replace to make searching a text quicker. I had read about using Templates and Styles and added them to my To Do list. Macros were new to me but I downloaded Paul Beverley’s Macros for Editors and installed the Macro Starter Pack which I knew at some time in the future would make my proofreading much, much quicker. When I found that Louise Harnby had made a set of BSI stamps available free to use with PDFs, I immediately downloaded a set and had a go; I wanted to practise using the marks I’d spent months learning before I forgot them.

Ten-minute run break…

I had now joined the SfEP and so began my descent into another internet black hole: the SfEP forums. These are online discussions where members can post questions and read about anything to do with proofreading or editing, whether it be a grammar question, finding work or dealing with clients. It is a hugely supportive network of experienced professionals. Another valuable asset is the archive of Editing Matters, the SfEP’s bimonthly magazine which is full of useful articles.

Yoga mat aside, I thought about the need for finding a niche. My specialisms are gardening and horticulture but I am also a trained primary teacher so educational books may be a good way to go. From the library I borrowed the Writers’ and Artists’ Yearbook and noted the contact details of educational publishers and publishers that produce books about horticulture. There is also a section on book packagers, another possible tack that is new to me. My To Do list continues to get longer.

I reach for my skipping rope in between the emailing…

Carolyn Clarke is a bookworm with a sharp eye! She is a freelance proofreader who specialises in horticulture and primary education but will happily proofread a range of fiction and non-fiction. Connect with Carolyn on LinkedIn.

 

 


A longer version of this post is available in the May/June 2019 issue of Editing Matters.

The SfEP has a wide range of courses for new and experienced proofreaders and editors, and SfEP membership benefits include discounts on the ‘must-have’ resources and software.


Proofread by Emma Easy, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

Being a London Book Fair chair

By Katherine Demopoulos

I was asked to chair a panel session at the London Book Fair this year, thanks to my connection with Indonesia, which is the market focus country for 2019. I spent six very happy years working in Jakarta as a journalist and still jump at opportunities to recement the link with my second home.

The panel was called The City and the Sea, and featured two writers from Indonesia – Sheila Rooswitha Putri and Agustinus Wibowo – and a Scottish author, Malachy Tallack. My task was to introduce these brilliant writers, set the scene for a discussion on rural and urban identities, and keep the conversation moving.

Indonesia is incredibly diverse – 17,000 islands, megacities, isolated villages, global faiths and old religions, hundreds of languages, imposed identities, and persecution of minorities – so the theme works well as a way of explaining the country and the work of Agustinus and Sheila. Malachy’s island background in Shetland and his travels were starting points for thinking about links between the writers.

Doing the groundwork

I initially felt it might be a challenge to develop a flow for our hour-long session that would give the authors equal talking time, because their work is so different. Sheila lives in Jakarta and creates funny and clever graphic novels. Agustinus is a travel writer, whose most recent book intersperses travel stories with his mother’s terminal illness and his experiences of persecution as a minority Chinese Indonesian. Malachy’s warm and nurturing first novel, The Valley at the Centre of the World, focuses on life in a small community in Shetland, and follows his non-fiction work on islands that exist only in the imagination, and travels around the sixtieth parallel.

It took some enjoyable research to find ways of moving smoothly from author to author and subject to subject, beginning with the parameters we were given. The British Council, which manages the market focus programme, sent some material but – perhaps I’m an over-preparer – it wasn’t enough to gain a rounded understanding of each writer. I bought Malachy’s two non-fiction books, ordered Sheila’s first from Jakarta, and on YouTube found particularly helpful TV interviews and recordings from literary events.

A few weeks before the event, the British Council introduced the four of us via email, and I sent the writers a suggested plan for our hour. The email conversation was productive; the panel blurb mentioned climate change, but it transpired this wasn’t relevant for all authors. I wanted to make the best use of the hour by bringing up subjects the writers actually wanted to discuss.

Sheila and I met a few days before the event to talk about how the hour would work for her – it’s harder to showcase visual work on a panel session – and I explained my suggested lines of questioning to help her prepare. We talked a lot about Jakarta and Jakartans, and the meeting helped both of us, because I learned more about her work and motivations.

I felt a little out of practice at chairing discussion panels, because the last time I did so was five years ago at an event in Jakarta with the Indonesian defence minister. I’ve also been to discussions with loquacious moderators and know what not to do in a panel session, but felt that I was rusty on what to do.

Fortunately, I decided to go to the opening Indonesia session for the London Book Fair, and I’m very glad I did. It was moderated by the novelist Louise Doughty, and she was marvellous: warm, engaging, focused on the authors and not herself, clear and fluent in her introduction and questioning, and able to gently move on the discussion when necessary. She was a great example of how a moderator should be.

A group of people, seated, all facing towards an unseen speaker

Photo by Headway on Unsplash

The main event

On the day of the panel I surprised myself – I’m not a natural public speaker, though I’m learning – by really looking forward to it. I had time to chat to Malachy and Agustinus beforehand, so the discussion itself felt like an interesting conversation among friends – albeit with one quieter one (me as moderator) – and the added bonus of an audience listening and contributing questions.

I introduced the session by highlighting what makes the subject timely: deepening divides between rural and urban populations, the global trend towards urbanisation, and our increasingly city-centric economies. I also questioned whether identity can be broken down between rural and urban populations, and what other ways there are of looking at this question.

The discussion moved from Sheila’s definition of Jakartans as resilient, stubborn and quick to adapt – the qualities necessary to survive in a megacity beset with traffic, pollution and flooding – to Agustinus’s thoughts on minority identities. His book Zero: When the Journey Takes You Home is being made into a film, something he said could not have happened twenty years ago when Indonesia’s messy move from authoritarian rule to democracy was accompanied by anti-Chinese riots.

From Malachy’s travel book Sixty Degrees North, which contains themes of grief and home, I learned that Greenland doesn’t have a concept of land ownership. He and Agustinus talked about identity and relationships to land, and how these relationships manifest themselves and change. Having my well worked-out plan made it easier to respond to new tacks in the conversation. While preparing, I had found more talking points in Sixty Degrees North than in Malachy’s other books, but the conversation was fluid and naturally brought in several characters from his novel.

I really enjoyed the experience, thanks to the authors, the British Council and also to the advice given by a wise friend. ‘Trust your preparation’, she said. To read, research, and discuss ideas with interesting authors is pretty good, and to be able to call that ‘work’ is even better. If you’re asked to participate in a London Book Fair panel – do it. I’ve already volunteered for next year!

Katherine DemopoulosKatherine Demopoulos is a writer and editor with a background in journalism. She works on economics, commodities, fiction, travel and all things Indonesia, and is an Intermediate Member of the Society for Editors and Proofreaders.

 

 


SfEP members get the opportunity to represent the Society at the London Book Fair each year, via the Society’s stand in the exhibition hall and by participating in events.


Proofread by Emma Easy, Entry-Level Member.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Linguistic prejudice: towards more inclusive editing and proofreading practices

By Erin Carrie

Close up photo of poppy buds, with one starting to open

I recently wrote an SfEP blog post discussing linguistic bias and prejudice, and encouraging editors and proofreaders to reflect on our roles and how our own biases may influence our working practices. In the post, I also highlighted what I consider to be problematic discourse within the profession, which is often reflective of the wider public discourse around language use. As a follow-up, this blog post provides more concrete – and, in many ways, more subtle – examples of linguistic bias and prejudice.

It’s one thing to accept that linguistic bias exists within the editing and proofreading profession and quite another to identify how it manifests itself and the ways in which we might work to prevent it. Once we start checking for unconscious biases in our daily practice, we come to realise that there are no simple do’s and don’ts. But, in my own experience of editing and proofreading (and having my work edited and proofread), I’ve become mindful of various ways in which we might be able to carry out our work in a more sensitive, inclusive and representative fashion.

1. Do encourage the use of sensitive and inclusive language but check that suggestions align with the author’s intention.

By means of example, a proofreader changed every instance of ‘sex’ to ‘gender’ in one of my research papers and, despite being well-intentioned, this change misrepresented which of these factors I’d investigated and how I’d gone about my research.

2. Do respect people’s rights to self-identify and to identify others in a more inclusive manner.

This applies to every aspect of identity but a useful example is that of singular they/them/their used for unknown or non-binary gender identifications. Singular they/them/their has become increasingly common and accepted in usage, especially for generic or indefinite antecedents, and the pronouns have worked to replace he/him/his, often the traditional choices in ‘gender-neutral’ instances. Recent moves have seen singular they/them/their used in a specific and definite sense. Ackerman (2018) writes:

there is prescriptive stigma of they as being necessarily plural … (although this appears to be changing) … this bias feeds the stigma of singular they as a personal pronoun for people who identify as neither male nor female, but instead as nonbinary. I advocate extreme care in using “unacceptable,” … This terminology puts authors in the position of telling nonbinary … readers … that the terminology which the nonbinary community has converged on is unacceptable

For discussion of singular they in editing and proofreading, see this article from The Economist.

3. Do retain regional and non-standard linguistic differences, rather than replacing them with more widespread or standard forms.

A good example of this is the primarily Scottish term ‘outwith’, frequently replaced in academic and other formal types of writing, despite the fact that, as stated in this Twitter thread, ‘it is the opposite of within in a way that without is not’.

4. Do acknowledge variation and remain flexible – opting for consistency rather than imposing rules.

By means of example, while the Modern Humanities Research Association suggests that the possessive of ‘Jesus’ is ‘Jesus’s’, Scientific Style and Format recommends writing it as ‘Jesus’’. This is not to mention the controversy around the use of the Oxford comma or the use of split infinitives, which also vary according to institutional and personal style. The choices that writers make regarding each of these linguistic features will inevitably communicate social meanings (I, for one, have either used or avoided the Oxford comma to achieve different effects), but writers should be entitled to make those choices themselves.Page of printed text with editing mark-up in red pen5. Do respect and nurture the author’s style, voice and identity.

If the author chooses to begin a sentence with a conjunction or end with a preposition, perhaps they want to take a more casual and informal stance to their topic. If, as I often encourage in academic writing, they choose to use a first-person pronoun rather than referring to themselves as ‘the author’ or ‘the researcher’, perhaps they want to assert themselves and claim more ownership over what they’re writing.

6. Do remember that the role of the editor or proofreader is to manage the author’s intentions and the reader’s expectations.

For example, dialect literature serves to celebrate regional and social differences and is intended for readers with sufficient social and cultural knowledge to recognise its forms and its authenticity. As such, non-standard spelling and grammar are not only preferable but, arguably, essential in this sphere – consider, for example, DH Lawrence’s use of third-person singular, past-tense ‘were’ in The Collier’s Wife (my emphasis):

Wheer’s ‘e hurt this time, lad?
– I dunna know
They on’y towd me it wor bad –
It would be so!

Compare this intentional use of non-standard spelling and grammar, where the message is communicated effectively, to Donald Trump’s ‘covfefe’ blunder, where the non-standard spelling was neither intended by him nor expected of someone in the position of POTUS.

In summary, our writing is an expression of who we are. For some writers, it is what makes their work different that makes it so special, authentic and credible (eg dialect literature). Even in other cases, there are nuances to writing styles that go beyond the textual meanings and that communicate social meanings and crucial aspects of the authors’ or characters’ identities. When we edit out these meanings, we risk editing out their voices altogether.

Erin CarrieErin Carrie is a Senior Lecturer in Linguistics at Manchester Metropolitan University. She works at the interface between Sociolinguistics and the Social Psychology of Language, with a particular interest in language variation and change, language attitudes, and folk perceptions of varieties of English. She promotes consciousness-raising activities around language-based bias, prejudice and discrimination. Follow Erin on Twitter.


Manchester Metropolitan University logo

 

Proofread by Emma Easy, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

BookMachine: three benefits for editors and proofreaders

By Laura Summers

I run BookMachine, a thriving community for publishing professionals. We have been running for nearly nine years now and we pride ourselves on our ability to connect the people who actually make publishing happen. If you are looking to work on new projects and be at the forefront of the industry, then BookMachine is for you.

BookMachine logo

Here are three ways we can help you.

1. Access to book fairs

Traditionally, book fairs were the land of rights and editorial professionals – those negotiating over the finer points of a book sale. Starting at 8am, and often finishing in the early evening, fairs were a time to discuss upcoming titles for sale and meet potential partners from all over the world.

This is still at the heart of a book fair; however, there is a lot happening these days that can also benefit the rest of us – and that includes copy-editors and proofreaders. Over 25,000 publishing professionals will attend the London Book Fair next week and it is free to attend for BookMachine members. There is a packed seminar programme designed to provide knowledge, tools and insight for everyone working in the industry; and a host of opportunities to meet interesting industry professionals.

BookMachine always organise an informal event on the Wednesday afternoon – an opportunity for professionals to meet each other and relax after a day of meetings or seminars.

In the evening, we work in partnership with the London Book Fair team and host the Global Gathering, the goal of which is to help international visitors and UK publishers to meet and mingle, again in an informal setting.

2. Industry knowledge from your desk

If alongside your work, you crave knowledge, ideas and personal development, then you can access our knowledge base for free.

Like the SfEP blog, we aim to enhance the lives of our community. Unlike the SfEP blog, we don’t write exclusively for editors and proofreaders. The site collates articles divided into six channels – tech, design, editorial, marketing, business and audio. If you work in editorial, please don’t just read the editorial channel. The idea is to encourage people in different departments to work together. All the blog posts have been designed to help us do this.

We have been curating industry insights on the blog for such a long time that, whatever you are interested in finding out, we should have the answers for you. However, as an editor, if you can’t find a question answered, or think you have a better angle on one of our ideas – please let us know. We are an industry site, and although our expert Editorial Board keep us informed, there are always going to be niche areas we could all learn more about.

3. Industry knowledge on a night out

Early on in our own publishing careers we identified that many events for publishers are really quite formal and expensive. Unless an employer or client offers to pay for this, it can be quite prohibitive. We knew so many people wanting to learn more – but on their own terms, from their own pocket and in order to boost their own careers. This drove us to create events which are accessible to everyone (although we know we need to venture out of London more).

People gathered at a BookMachine event, in front of a neon sign saying 'Shhh.... it's a library'

Since 2010 we have hosted over 100 events for these people who actually make publishing happen, and in 2019 our event series BookMachine Unplugged is back to offer even more insight. There will be six informal events, each of which will zoom in on a vital area of the publishing industry and feature three expert speakers. Each evening has been programmed by an Editorial Board member and has been designed to inspire you with real insights into what is working in publishing right now. The events aren’t expensive to attend (£10 or free for BookMachine members) and we guarantee that editors and proofreaders will learn something interesting and meet someone new.

 

Laura SummersLaura Summers co-founded BookMachine in 2010, initially as an informal way for publishers to meet each other at events, and then as a popular site for anyone building a publishing career. The team have now organised over 100 events. In 2017 she launched BookMachine Works, a creative events and marketing agency, specialising in the publishing industry. Laura has spoken about events and publishing at the Frankfurt Book Fair, the London Book Fair, IPG Digital Quarterly, the Galley Club, BIC battles, Women in Publishing and the SYP conference.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Linguistic prejudice: time to check our unconscious biases

By Erin CarrieFour yellow balls with faces drawn in black ink: one sad, one happy, one angry and one uneasy

An introduction to linguistic prejudice

We all have preferences when it comes to language – things we like and dislike. There are accents that we find friendly, catchy words that we pick up, and grammatical forms that we consider to be correct. But that means that there are also accents that we find ugly and unattractive, words that we think are silly or offensive, and grammatical forms that we – often quite adamantly – think are just plain wrong.

This is perfectly normal human behaviour. We have a natural tendency to organise our realities in this way, sorting things according to dualities such as good vs bad, right vs wrong, etc. But it does beg the following questions… What are these evaluations of language actually based on? Who decides what is good and bad, or even right and wrong, when it comes to language? And at what point do these preferences become prejudices?

Sociolinguists like myself would argue that there is nothing inherently good, bad or – dare I say – ugly about any aspect of language. These are social meanings that we have attached to language through convention. And it’s perhaps no surprise that the language that we consider to be correct tends to be the language of the elites within our societies.

Within the vastly variable and changing landscape of the English language, there is a tendency to think that dictionaries, grammars, style guides, etc, based on the linguistic norms of the South East of England have the greatest authority and prestige. More often than not, these norms become the standards that editors and proofreaders live and work by, whether explicitly or implicitly.

But what happens when the work being edited or proofread is written by someone using features of regional or second-language varieties of English? Should their writing conform to the aforementioned norms? At what cost? Perhaps it’s time to reflect on the extent to which the profession privileges some voices over others and, in doing so, turns these preferences into prejudices.

The roles of editors and proofreaders

When editing and proofreading, there is inevitably a need to tread the line between (1) suggesting changes that will help the author communicate their message more effectively and (2) ensuring that the style and voice of the author is retained. Editors and proofreaders spend their time working with language and, though they may refer to style guides and implement language ‘rules’ consistently, they are also aware of the fact that language rules are abstract, ambiguous and, quite often, not applicable – there are always exceptions. This makes their roles more difficult to define – they have to use their own judgement and experience when reshaping the author’s message and mediating the relationship between writer and reader.

Every editor and proofreader should reflect on their role and consider the extent to which they are applying rules or asserting preferences, and enforcing so-called ‘standards’ or facilitating diverse voices in communicating their own messages in their own ways. Of course, some degree of conformity to agreed linguistic norms is essential for effective communication but these norms can be redefined and, even, subverted where appropriate. It wouldn’t make sense for everyone’s writing to conform to Standard British English rules when this doesn’t represent the language used by the majority of writers and readers.


Hand turning the pages of a dictionary
Problematic discourse within the editing and proofreading profession

My work on linguistic prejudice to date has focused on speech and, specifically, negative attitudes towards accents and their speakers. One example of the impact of such attitudes is the discrimination experienced by Kasha, shared in this video (Listen to Britain 2017), who moved to the UK from Poland in 1990. The hostile reactions that she has received, based on how she speaks, have made her question her Polish identity and have driven her to seek expert help for reducing and modifying her accent.

Kasha has clearly internalised the social bias against her accent, as she describes her pronunciation as ‘incorrect’ and talks about her accent as a ‘problem’. Disappointingly, her accent reduction coach also engages in this sort of negative discourse, saying that she’ll help Kasha ‘get rid of’ and ‘eradicate’ her accent and will help her to use more ‘elegant’ vowel sounds. Given the differential status of a Standard Southern British English accent and Polish-accented English, it is no surprise that Kasha claims to feel ‘empowered’ after these coaching sessions.

The reason I mention Kasha’s story, although it focuses on spoken rather than written language, is that this is exactly the same type of discourse that we encounter elsewhere and is, in fact, as prevalent within the editing and proofreading profession as in the accent reduction industry. It is not uncommon to come across the following terms in editing and proofreading discourse:

  • ‘standard’ and ‘colloquial’
  • ‘right’ and ‘wrong’
  • ‘good’ and ‘bad’
  • ‘better’ and ‘worse’
  • ‘normal’ and ‘neutral’
  • ‘uncommon’ and ‘unusual’
  • ‘clear’, ‘pristine’ and ‘impeccable’
  • ‘mistakes’, ‘errors’ and ‘problems’
  • ‘correcting’, ‘fixing’, ‘tidying up’ and ‘resolving’.

All of these evaluations of language are based on social, rather than linguistic, norms. Where linguists merely observe differences, society has a tendency to impose hierarchies whereby (1) some linguistic choices are viewed favourably and others aren’t, (2) some are viewed as unmarked and others as marked, and (3) some are considered to be pure and others to be somewhat tainted. All of this implies to writers that they should strive not just to communicate but to communicate perfectly. But, again, who decides what is perfect when it comes to language use? By enforcing the norms of the powerful elite, aren’t we simply perpetuating a system that favours some voices over others?

Erin CarrieErin Carrie is a Senior Lecturer in Linguistics at Manchester Metropolitan University. She works at the interface between Sociolinguistics and the Social Psychology of Language, with a particular interest in language variation and change, language attitudes, and folk perceptions of varieties of English. She promotes consciousness-raising activities around language-based bias, prejudice and discrimination. Follow Erin on Twitter.


Manchester Metropolitan University logo

Posted by Abi Saffrey, SfEP blog coordinator.

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

The SfEP mini-conference goes international: Toronto 2018

Over the past few years, local SfEP groups have arranged mini-conferences – day-long CPD and networking events. In November 2018, the Toronto local group hosted its first mini-conference: in this post, two attendees tell us about their experience.

Toronto City Hall

An editor’s homecoming

By Maya Berger

To be an expat is to always feel like a piece of you is far away. To be an expat who has returned home can feel even more fragmenting.

I left Canada for the UK right after I finished my undergraduate degree, and until I moved back to Toronto a year ago all my editorial training, employment, and professional affiliations were British. My links to SfEP have been an anchor for me in a year of big life changes, and the recent SfEP Toronto mini-conference allowed me to bring my British editorial past into my Canadian future. This conference felt like coming full circle for me since the co-organisers, Janelle Bowman, Kelly Lamb and Janet MacMillan, and several of the attendees (including my roommate here in Toronto, Rachel Small) were all people I’d met in the UK through SfEP.

The Toronto mini-conference was an absolute delight. Delegates and speakers came from all over Canada and from the United Kingdom and the United States. There was a fascinating range of backgrounds, career paths, and experience levels among the delegates, and the conference programme delivered impressively on its promise of ‘Something for Everyone’.

Unfamiliar as I was with the Canadian editing community, which of course includes a growing number of SfEP members, the conference introduced me to editor rock stars Virginia Durksen, Jennifer Glossop and Adrienne Montgomerie. Their sessions on grammar, editorauthor relations, and marking up PDFs, respectively, reflected their wealth of expertise and were delivered in a friendly and accessible way. The full roster of speakers and panellists also included fellow Canadians Jeanne McKane, Vanessa Wells and conference co-organiser Janet MacMillan, Americans Erin Brenner and Laura Poole, and Brit Louise Harnby, and it was truly inspiring to learn from their collective wisdom.

Since I didn’t train as an editor in Canada, I was unaware of all the opportunities for professional development that exist across the country for editors and proofreaders. I was pleased to learn that three of the conference’s sponsors, The G. Raymond Chang School of Continuing Education at Ryerson University, Queen’s University Professional Studies, and Simon Fraser University Continuing Studies, offer courses in editing and publishing-sector skills.
In many ways Toronto is an ideal location for hosting an international conference of editorial professionals. Because Canada’s language and culture have been strongly influenced by both the UK and the US, speakers and delegates from both of those countries, as well as the many Canadians in attendance, found the conference relevant to them. It also didn’t hurt that Toronto itself is a cosmopolitan city with great transport links and lots of attractions.

I have to give huge thanks and kudos to Janelle, Kelly and Janet for organising such a great day. I’m thrilled that Toronto now has its own mini-conference for editors and proofreaders, and there is already talk of making it an annual event. Between this event, the monthly Toronto SfEP group meetings and all my editor friends in the city, Toronto feels like a great place for this editor to call home.

Toronto skyline at nightBeyond editing: finding my people

By Rachel Small

I love working from home. And my idea of a great night involves a good book, a mug of tea and my couch. That said, I’m not completely anti-social, and as a freelance editor I know the importance of community in battling the isolation that tends to come with the job.

In the Society for Editors and Proofreaders, I’ve found ‘my people’.

I was first introduced to the SfEP by my friend and colleague (and often guru) Janet MacMillan, while I was living in the UK. Introvert that I am, I was a bit shy about meeting Janet in the first place, but she immediately welcomed me into her home and reassured me that I would find a supportive network and fantastic professional resources in the SfEP. And she was right.

I started attending the London meetings regularly, and at one such meeting I was pleasantly surprised to hear another Canadian accent. I introduced myself to Maya Berger that evening, and now she’s not only a fellow Toronto-based SfEP enthusiast but also my roommate! Talk about finding my people.

On 7 November 2018, the Toronto group held its first mini-conference, co-organised by Janelle Bowman, Kelly Lamb and Janet MacMillan. While the day’s sessions were top-notch (I feel as though I need a year to integrate all of the tips gleaned from the presenters into my business), what really stood out to me was the camaraderie. Friends, colleagues and strangers alike shared stories and battle scars. We laughed, we groaned, we commiserated.

As I looked around the beautiful venue, I couldn’t quite believe it. I was in the same room as so many of my editing heroes, and treated as a peer. It was humbling and inspiring. I found it equally wonderful meeting so many other people who called themselves introverts. We acknowledged how the intense socialising was outside of our norm but incredibly valuable. The conversations lit a fire under me, and I resolved to get out a little more.

After the full-day conference and subsequent night at the pub, where more lively discussions ensued, I was exhausted – but in the best possible way. Within that exhaustion, I felt rejuvenated. I’d created a memory I could tap into when I needed a boost of energy and motivation. And now, on those days when working from home is just too isolating, I know I have an incredible network of people here in Toronto and also across Canada, the UK, and the US to reach out to. My editing people.

I’m already eagerly anticipating the next conference in Toronto, and I also hope to attend the main SfEP annual conference in Birmingham in 2019.

Tonight, though? I’m curling up with a book.

Cup of tea next to an open book

 

Maya BergerMaya Berger is a copy-editor and proofreader specialising in academic texts, sci fi and fantasy, YA fiction, and romantic and erotic fiction. She is currently a Professional Member of the SfEP. She has degrees in English Literature, Philosophy and Children’s Literature, and she worked as an editorial manager for a higher education specialist publisher in London before going freelance in 2016. Having spent 13 years in the UK, Maya returned to her native Canada in October 2017 and is now a member of the Toronto local SfEP group.

Rachel SmallRachel Small is an editor based in Toronto, Canada, and is an Advanced Professional Member of the SfEP. She works with independent authors, small publishers, and businesses of all shapes and sizes. Her specialties are women’s fiction, memoirs, and material meant to move and inspire audiences. She always loves a good travel story, both on and off the page.

 

Posted by Abi Saffrey, SfEP blog coordinator.

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

Wise owls: 2019


Multi-coloured metal owl sculpture
It’s 2019! The SfEP’s wise owls are hatching plans for the year ahead.

Nik ProwseNik Prowse

I aim to grow and develop my business every year, to be able to look back a year on and identify what’s different – and better – than it was 12 months previously. I don’t always know what direction that change will take me at the outset, as it may be based on chance encounters. But I am open-minded about change, and make it work for me and my business when opportunities arise.

This year my focus is on developmental editing. It’s a challenging task, and every job is different. The recent SfEP Education Publishing Update in London sparked this notion. Of note was a talk on the changing nature of relationships in publishing, including packager clients. And Astrid deRidder’s closing session was empowering in the way it told us to make all our skills known to clients, because they’re often crying out for them (who’d have thought syllabus mapping was such a sought-after skill?).

On a personal note my eldest is going to university this year, so there will be big changes at home, and in June I shall be seeing Metallica live for the fifth time (and the first in 20 years), no doubt reminiscing about when I first saw them as a spotty teenager in a field in Derbyshire in 1990…

Sue LittlefordSue Littleford

I’m hoping 2019 will mean finishing off all those things I started in 2018 – primarily training, but also uncovering my desk. The PTC Adobe tools for editors course, Hilary Cadman’s PerfectIt duo and a MOOC on humanism all languish either just started or not-started-but-still-paid-for. The latter part of 2018 kinda got away from me, so my resolution this year is to catch up! If I can get into the routine of scheduling (and sticking to) time to spend on training courses that require self-starting rather than leaving the house and showing up (which is much easier to prioritise – at home, there’s always paid work that gets preferential treatment, or lazing around doing nothing, dressed up as R&R), I’m hoping to continue with some of the newest PTC online courses – Copyright Essentials, Editing Illustrations and the Copy-Editor’s Guide to Working with Typesetters all look juicy. (I really feel I should point out that I’ve already done all the SfEP courses that are relevant to me!) Looks like I’ll need to get the garbage off my desk soon. Of course, there are other things I want to achieve in 2019. I’m toying with the idea of rebranding, for one (something else carried over from last year). And I want to get a proper disaster recovery plan implemented and maintained. Too much head-in-the-sandiness and mindless optimism could bite back, there, so that really needs to be tackled.

Mike FaulknerMichael Faulkner

2018 was challenging, so for the first time in years I made some New Year’s resolutions aimed at finding a more sensible work–life balance:

  1. Introduce some predictability into regular work, ha ha. Much of my bread and butter work is copyediting and proofing law books, which I enjoy – but these projects come randomly and often with tight deadlines, so I’m asking clients to book further ahead. Also exploring the idea of a retainer for one or two publisher clients, which I know works for some colleagues. It would be lovely to put some structure into 2019!
  2. Put Pomodoro to work. I have been trying to take five minutes away from the desk every forty-five minutes, and it really does help with productivity, but when the pressure is on I ignore my little pop-up reminder. This must stop – the regime is even more important when the pressure is on!
  3. Exercise every day, twenty minutes minimum.
  4. Make time to write. My last (non-fiction) book was published in December 2013 and I resolved then to write a novel; five years on, NY’s resolution #4 is to … write a novel.
  5. Try to carry New Year’s resolutions into February and beyond. So far so good, at least with nos 1–3.

Wishing everyone a productive and enjoyable 2019!

Liz JonesLiz Jones

2018 was quite a challenging year for me personally, so work had to take something of a back seat. I’ve learned a lot about working through a crisis, and people have been incredibly understanding. I needed to continue to support myself and my family, so carried on working throughout at more or less my usual rate, but I had to withdraw somewhat from ‘extra-curricular activities’ such as online networking, and I also scaled back my regular marketing activities and took more time off than usual. Work ticked over, with regular clients keeping me supplied with things to do, which was a huge relief. Now, however, I’m planning to get proactive again, and return to the editorial fray with a vengeance in 2019 – getting stuck in online, seeking out new work opportunities, investigating ways I can push my business forward and also exploring collaborative work with a group of editor friends. I’m also continuing the work I began last year on the SfEP’s outward-facing newsletter, Editorial Excellence. I’m excited to see what this year brings!

Hazel BirdHazel Bird

It’s a cliché but I never like the feeling of standing still in my business. In some cases I’ve been working with the same clients on the same kind of work for many years, but I always like to feel I’m moving forward – whether I’m finding better ways to work in sync with my clients’ needs, seeking new efficiencies to improve my hourly rate or simply finding more things to enjoy about what I do.

I’ve always kept a lot of data about my projects and how long individual tasks take, but one of my goals for this year is to put that data to better use. It’s all very well knowing approximately how long a project will take based on my experience of similar work in the past. However, it can be difficult to accurately assess whether I’ll have time for all the myriad individual stages of that project when it’s spread over a year or more and interwoven with many other jobs. By making my time planning much more granular, I hope to minimise the workload lumps and bumps that can disrupt work–life balance.

 

Posted by Abi Saffrey, SfEP blog coordinator.

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

 

 

 

I am a Polish editor of English

By Kasia Trojanowska

cat in a plastic carrier bag

When I was invited to write about the challenges and rewards of being a non-native speaker editor of English, it felt like the cat was being let out of the bag after a very long time. I am a non-native English speaker and an editor, but I never think of myself as such – to me, I’m simply an English editor. And now, finally, someone has noticed my big, fat secret.

Abi’s (this blog’s coordinator’s) invitation opened up something I hadn’t until then been ready to acknowledge. I imagine that seeing my name people must wonder where I’m from, how good my English actually is and what’s my claim to editorial competence (I also like to imagine they have better things to do). In today’s interconnected world, I could’ve been born in the UK to Polish parents – a lot of immigrant children carry non-English names. But I learned English in another country and came here in my 20s, and when I speak, the first thing you’ll notice will be my unfamiliar accent. Working as an editor, I’m basically asking to be judged on my language at every turn. Shouldn’t an editor be someone whose English, both written and spoken, is impeccable?

By virtue of my background, I’m facing two kinds of challenges already – my name and how I sound. Until that email from Abi, I would deal with them through avoidance. First, I’d be stumped if you found any mention of my background on my public profiles. I’d decided long ago that this would be my weak spot and didn’t want to draw attention to it in case this made anyone doubt my skills. And second, I would simply avoid speaking with clients, at all cost. Unfortunately for me, there are some people who just don’t get the message – and don’t do email. I now thank them.

To a certain extent, the challenges I’ve experienced as an editor of English are internal and come from the idea of what an editor should embody, which to me, and many others, is language knowledge and competence nearing the heights of perfection. As a profession, I think we are quite unique in holding ourselves, often publicly, to such incredibly high linguistic standards that it must come at a price. One of the consequences is that this makes some of us anxious communicators – and the challenge is multiplied for someone who has learned English as an adult. What I’d like us to remember though is that language is a system and therefore can be studied and learned. So can editorial craft. I studied English literature and linguistics for 5 years at university and have worked as an editor of English for nearly 12 years; that gives me close to 17 years of experience as an English-language professional. And I’m still learning – I take editing courses, I read industry books, scour the internet for current language trends, go to conferences – everything we all do as editorial professionals. I find professional development and education to be the best remedy for the lurking ‘English-language editor’ impostor syndrome that rears its head in moments of self-doubt.

Delegates at the 2018 SfEP Conference

Professional development at the 2018 SfEP Conference

The rewards are perhaps the same for me as for everyone else who loves their job. Contact with authors is immensely rewarding; one of my authors calls my editing her work ‘magic’ – it doesn’t get better than this! I engage with incredibly dedicated, knowledgeable and inspirational people who care about how they write, I read books and papers on topics I wouldn’t have come across otherwise, I learn and grow thanks to what I do for a living, and, to use that worn out cliché, I love reading. A challenge now is picking up a book for pure enjoyment, our common complaint I suppose.

I keep going back to that email from Abi, because it’s shifted something for me, prompting a change in how I think about myself and present myself to the world. That same evening, I edited my website bio to say I wasn’t born in the UK and I didn’t graduate from a UK university. Perhaps that’s another step in overcoming my biggest challenge – my own prejudice against myself as a competent, expert, non-native English-language editor.

*As a disclaimer I’d like to add that I have never experienced anything but kindness, encouragement and trust from my colleagues of various nationalities, not least the native speakers of English.

Kasia TrojanowskaKasia Trojanowska, APM (SfEP), MA (hons) English Lit, is an academic and non-fiction English-language copy-editor, proofreader and text designer. She was born and educated in Poland and came to the UK for no specific reason in 2007. Shortly after arriving in London, Kasia found her editorial calling and a first job as an assistant scientific editor. She works both with authors who are English native speakers and those for whom English isn’t their first language, and simply loves her job.

Posted by Abi Saffrey, SfEP blog coordinator.

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

SfEP conference 2018: what they said

Places at this year’s conference at Lancaster University sold out quickly and the conference’s success has been blogged about by attendees since the event in September – here are the highlights.

SfEP directors and audience at the AGM

There was swearing

Kia Thomas’s session on editing sweary stuff was clearly a highlight for many members; it inspired Howard Walwyn to title his comprehensive conference review ‘#SfEP 2018 – Let’s Get F***in’ Serious‘.

Hannah McCall also enjoyed the session, and the Coco Pops option at breakfast; this was her first SfEP conference experience, and she talks about the warmth of strangers and support of her conference buddy in her summary.

Editors travelled from far and wide

Every year, more and more editors based outside the UK attend, and present at, the conference. Claire Wilkshire discusses British politeness in her post ‘Editors, sheep, conferencing‘.

Presenters push the boundaries of their comfort zones

The conference director approached Kia Thomas during her ‘Saying Yes’ kick, and Kia elegantly discusses the process of preparing and presenting at a conference in ‘Conferences, confidence and comfort zones‘.

There were indexers there too

The Society for Indexers’ conference was at the same venue at the same time this year, enabling sharing of some sessions and the gala dinner. Tanya Izzard is an indexer looking to develop her editing skills, and made the most of the opportunity to attend two conferences at once.

Attendees learnt stuff

Pamela Smith lists her main learning points from the two days in her conference report – AND she won a fabulous raffle prize so the learning can carry on.

The learning wasn’t just limited to the sessions – the quiz on the opening evening of the conference warmed up brain cells and revealed the vast amounts of random knowledge that editors carry around in their heads. Oh, and Kia Thomas was on the winning team.

But it’s all about…

As Stephen Cashmore reminds us, the conference is all about the people: those who plan, prepare and attend it.

Attendees at the 2018 SfEP Conference

There’s more coverage of this year’s sessions in the November/December edition of Editing Matters, the Society’s digital magazine for members.

Compiled by Abi Saffrey, SfEP blog coordinator.

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

Coming up

Plain English: ‘Be short, be simple, be human’

By Laura Ripper and Luke Finley

Ever had to deal with text that makes you feel alienated, inadequate or frustrated? We’ve all had that experience – of struggling to make sense of writing that’s pretentious and showy, filled with jargon and buzzwords, or simply badly planned and confusing.

Sometimes you might long for the writing to be as poetic as Shakespeare, as gripping as Stephen King or as much fun to read as JK Rowling. But when you need information quickly, you just want it to tell you, without all the frills, what you need to know.

In other words, you want it in plain English.

Water ripples above book pagesWhat is plain English?

Plain English is about communicating with people in writing as clearly as possible.

George Orwell and Ernest Gowers, writing in the 1940s, were among the first to encourage writers to use plain English: ‘Be short, be simple, be human,’ wrote Gowers in his guide Plain Words. There’s no one accepted definition today, but the International Plain Language Federation sums it up nicely:

A communication is in plain language if its wording, structure and design are so clear that the intended audience can easily find what they need, understand what they find, and use that information. [our emphasis]

It’s about putting the reader’s needs first, even above the writer’s preferences, when it comes to deciding how to word and organise a text. This doesn’t ignore the writer’s priorities – quite the opposite! What’s your main aim as a writer, if not to communicate clearly with your readers?

What is it for?

You can use plain English to:

  • make information accessible to people who aren’t specialists in your area (whether that’s about health, money, research, government policy or something else)
  • share essential information (on safety or the law)
  • give people the chance to have a say on things that affect them, or to use services they’re entitled to
  • build a reputation for putting customers first
  • build a good relationship with readers
  • save time and money (on clarifying misunderstandings, reprinting documents).

So you can use it for ethical and economic reasons. By making letters, reports, policies, articles and application forms easier for people they affect to read and understand, you’re making a difference to those people. You’re also making savings for your organisation, and helping to achieve its marketing aims.

What can using plain English do for me?

Writing in plain English can help your organisation:

  • make the text more effective (informing, selling to or empowering the reader, or appealing to more readers)
  • market itself (by strengthening your reputation, building trust and loyalty, and attracting customers, staff and suppliers)
  • achieve its business aims (eg increasing profit by saving time and money)
  • fulfil its purpose (providing a public service, raising awareness of an important issue).

Open book with letters flying outHow can an editor help?

Editors offering plain English services can help by making text clearer and easier to read. Many of them can suggest ways to improve its structure and layout too.

According to the Oxford Guide to Plain English, the average UK adult has a reading age of just 13. They’re also busy – they don’t have time to read insurance policies for pleasure. So in a plain English edit, an editor aims to make the writing as easy as possible for the average person to read.

To do this, editors follow established guidelines, such as those in the Oxford Guide. ‘Translating’ a piece of writing into plain English isn’t a mechanical exercise, though – a trained editor considers the reader’s level of knowledge and what will be clearest for them.

Some editors can also help by:

  • giving training about using plain English
  • completely re-writing a document, or writing a plain English summary
  • designing templates and style guides that follow plain English principles.

What else can I do?

  • Keep the reader in mind when you’re planning, writing and designing the text – think about what will be clearest and most logical for them.
  • Make sure you’ve included all the information the reader needs – don’t assume they know as much about your subject as you do.
  • Learn about the principles of plain English (by doing training and using resources, such as those available from the National Adult Literacy Agency in Ireland).
  • Test the text on real readers to see if they understand it quickly and easily.
  • Get feedback from readers on documents you’ve already published and make improvements.

If you write in simple, direct language, readers are more likely to respect and value what you have to say. And this will make as much of a difference to you, and your priorities, as it will to your readers.

Laura RipperLaura Ripper began her career in 2004 at Plain English Campaign, where she translated all sorts of documents into plain language. In 2008 she moved to a wider editorial and communications role, which included raising awareness of the UK’s switch to digital TV. Laura set up her proofreading and editing business in 2012 to concentrate on the aspects of her job that she loves best. She still specialises in plain English, and has found these skills useful for every type of document – from journal articles to board game rules. She is an Advanced Professional Member of the SfEP. When she isn’t at her desk, Laura loves walking in the hills. She has two feline assistants.

Luke FinleyLuke Finley set up Luke Finley Editorial in 2013 and is an Advanced Professional Member of the SfEP. He briefly worked in publishing in the 1990s, but most of his working life has been spent in the voluntary and public sectors, in social policy development and implementation. His experience of local government gave him a keen interest in plain English and trying (sometimes in vain) to persuade people to communicate more clearly.  Luke will edit or proofread anything from academic books to charities’ annual reports to travel agents’ websites, but mostly works on social policy and politics texts.

Posted by Abi Saffrey, SfEP blog coordinator.

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