‘You spend all day reading?’ Why we need the Chartered Institute of Editing and Proofreading

All events in this blog post are based on true experiences, as reported by editorial professionals. However, details have been changed to protect the identities of not only the editors but also their friends, family and contacts. Thanks to everyone who volunteered their stories.


It’s 8.30am on a typical Wednesday morning. I’ve been up for two hours and, after hanging out all the laundry and getting the kids up and off to school, I finally sit down at my desk and check my To Do list. Today, I have a specialist journal article and its references to edit, six people’s comments and corrections to collate on a textbook’s second proofs and a weekly catchup meeting with an in-house project manager. I smile to myself. I love my job and I’m still basking in the happy news that soon the SfEP will become the Chartered Institute of Editing and Proofreading.

I check the 15 emails I’ve received overnight. The author of the article has sent a new version with 2,000 extra words and 15 new references but hasn’t used Track Changes so I can’t immediately tell what’s different. One of the consultants on the textbook has asked for the chapters to be reordered. I settle down to work.

9am: An email arrives from a marketing agency. ‘Here’s a PDF of our latest brochure. It just needs a final proofread by lunchtime.’ Apparently, by ‘final proofread’, they mean complete restructure using different words. I respond explaining, as I did last time they made the same request, that the level of changes required means it would have been quicker and cheaper for everyone if I’d have been able to edit the text in Word before it was set in InDesign. They ask how much this would cost. I give them my standard copyediting rate, which reflects my years of continuing professional development and experience. They reply that their budget doesn’t stretch to more than half that amount for such a simple task – after all, they haven’t spotted any typos in the leaflet. I politely decline the job so that I can maintain my professional integrity (and, by extension, that of the SfEP).

9.30am: The email reminds me that I used to do a lot of work for another agency, so I call my contact there. He apologetically tells me that all editing and proofreading is now handled in-house to save money. The new boss had questioned why external editors were charging twice for doing one job. My contact had tried to explain that copyediting and proofreading were two different aspects of a thorough editorial approach but the boss now gives all the ‘checking’ to a marketing assistant with an English degree. My contact confides that they’ve made a few mistakes in their marketing material recently that have ‘negatively impacted their brand perception key indicators’.

11am: My edit is interrupted by the phone. I consider not answering but it’s my mother and there might be a family emergency.

Mum: ‘Hello! I was going to phone your sister about this, but I don’t like ringing her when she’s at work. Are you working?’
Me: ‘Yes, Mum. I’m always working at this time.’
Mum: ‘Ha ha, yes, you work too hard! I do wish you’d start actually using your qualifications, though, after you spent all that time studying. What job do you say you do again? You’re a word processor or something?’
Me: ‘I’m a copyeditor.’
Mum: ‘When are you going to become a real editor? Anyway, I called to tell you …’ [Long story of exactly zero importance or urgency ensues about some relative I don’t know.]
Me: ‘Mmm … uh huh … really? … Oh dear … yes … I mean no, that’s terrible!’ [Trying to sound interested and maintain work mode.]
Mum: ‘Are you listening to me?’
Me: ‘Well, actually, I’ve got this deadline …’
Mum: ‘Well, why didn’t you say so?’

12.30pm: The doorbell rings. I think it’s the postie needing me to sign for a contract I’m expecting by registered post so I answer the door. It turns out to be a friend holding a homemade cake.

Friend: ‘Hi! I was just passing and I knew you’d be at home so I thought I’d pop in for a quick coffee.’
Me: ‘Er, it’s nice to see you but I actually have a deadline today.’
Friend: ‘Oh, I’ll only be half an hour. It’s lunchtime! Time for a break!’

She walks in and casts a critical eye on the unwashed breakfast dishes.

Friend: ‘Oh, I could never work from home! I’d get too distracted by the housework!’
Me: [Ahem, clearly that’s not my problem …] ‘If I spent all day doing the housework, I wouldn’t get paid.’
Friend: ‘Oh, come on, your husband has a good job. You don’t need to work!’
Me: ‘Editing is my career. It’s taken me years to get to where I am now.’ [To gain the skills, experience and contacts to get a steady stream of work and become an Advanced Professional Member of the SfEP.]
Friend: ‘So which book are you reviewing at the moment?’
Me: ‘I’ve told you before, I’m not a reviewer, I’m an editor. I don’t comment on it, I fix it. Reviewing and editing are different jobs.’
Friend: ‘Oh, so you just run spellchecks all day? Beats a real job! Right, no more time to chat – I’m off to my Pilates class.’

I’d been planning on a walk round the block but I don’t have time now so I get back to work.

3pm: I go to pick up the kids from school. A mother I’ve never spoken to corners me.

Her: ‘You’re a proofreader aren’t you?’
Me (warily): ‘Well, I’m mainly an editor but yes, I do proofread …’
Her: ‘I’ve decided to become a proofreader too. I’m always spotting mistakes in books. There was a typo in the crime novel I’m reading. If you’ve got any overspill work, let me know!’
Me: ‘I don’t suppose you’ve got half a day to edit 1,500 references into Chicago style and cross-check them against the citations?’
Her: ‘Um.’

A father has been listening in.

Him: ‘You’re a proofreader? I didn’t know that was still a thing. Do they actually employ people just to do that stuff? Isn’t there software for that?’
Me: ‘Yes, my brain.’
A nearby childminder looks scandalised: ‘You spend all day reading? Flipping through books? Nice for some – the rest of us have work to do!’

With perfect timing, my youngest child rushes out of the classroom and announces that he got 100% in his English comprehension test. The adults are suddenly silent.

3.30pm: As I get home, a neighbour comes over to chat. I ask how her husband is after his recent operation.

Neighbour: ‘I think he’s all right but I’ve not been able to get over to see him in hospital today. I was hoping Roger opposite would give me a lift – he works from home like you, you know, but he’s a man. He’s not got to ferry his kids around all day like you do.’
Me: ‘Perhaps he’s contracted to work certain hours. If he’s self-employed, he might even work longer hours than people with office jobs.’
Neighbour: ‘But he’s got time to walk his dog! Oh, by the way, here’s your copy of the charity cookery book you helped with.’

Inside the house, I eagerly look at the book. I’d voluntarily spent hours laying out pages, sourcing illustrations and explaining how to pay for them, warning them of copyright infringement and copyediting the recipes. The acknowledgements merely thank me for sorting out the author’s grammar.

4.30pm: An email arrives from a graduate student, for whom English is a second language. ‘I have just finished writing my MSc dissertation and need some urgent editing and academic proofreading work done. It’s about 70,000 words. This may be the final proofreading I do before submission this week by Friday.’ I politely decline.

5pm: I’ve put my focusing skills to use today and made quite a bit of progress, despite everything. I take a quick look at Facebook. A friend is starting up a small business and asks about GDPR and how tax is handled by sole traders. I send her a copy of my GDPR policy and a quick outline of the HMRC self-assessment process. She’s grateful for my help and messages back, ‘You’re wasted as a proofreader! I didn’t know you knew about this sort of thing! I thought you were just a language pedant. Is that how you spell pedant? I’m scared you’re going to correct me!’ I respond, ‘Don’t worry, if you’re not paying me, I won’t correct you.’ She replies, ‘Oh, I was going to ask you to check my new web text but I’ll ask my English-teacher friend if you want paying for it.’

5.30pm: I’ve still got a few hours’ work to do, after all today’s interruptions. Just before I return to the endless references, I remind myself of the SfEP’s original rationale for chartership:

‘We want to see greater appreciation of the value of good editing (in its widest sense), based on recognised qualifications, high standards and an understanding of what editorial professionals do, with a commensurate rise in their status and pay.’ (www.sfep.org.uk/about/governance/aim-of-chartership)

It seems that, as a member of the Chartered Institute of Editing and Proofreading, I’ll soon be taking another step in my ongoing public relations journey.


Photo credits: Man on sofa – Austin Distel on Unsplash; Head in book Siora Photography on Unsplash

Proofread by Victoria Hunt, Intermediate Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

Seven things you didn’t know about the SfEP social media team

With a colossal 27,000 Facebook ‘Likes’, more than 10,000 Twitter followers, and edging towards 12,000 followers on LinkedIn, the SfEP social media accounts are a popular way of promoting the Society to a wider audience and a way of meeting edibuddies.

But have you ever wondered who the digital ninjas anonymously posting links are? It’s time to reveal all about the SfEP’s social media team.

1. Members of the Twitter, Facebook and LinkedIn teams are each responsible for a particular day or week.

The Twitter team is currently Richard Sheehan, Alison Walters and Anna Nolan. As well as posting, they also respond to any tweets directly addressed to @TheSfEP during the day they’re on duty. At time of writing, there are two vacancies on the team.

Facebook is our most popular platform and our team is currently Eilidh McGregor, Cathy Tingle and Rachel Hamar. At time of writing, there are two vacancies up for grabs here too.

Our LinkedIn profile is monitored by Jo Johnston, who tweaks and posts content from our blog (managed by Abi Saffrey). Despite posting regularly for just shy of a year, the SfEP on LinkedIn is proving extremely popular with editors and proofreaders all over the world, and we are seeing great engagement here, so don’t forget to find and follow us!

Community director Vanessa Plaister and marketing and PR director Denise Cowle oversee the teams and help us monitor any tricky responses we may get.

2. We’re all volunteers and also run our own freelance businesses.

We’re not elected to a committee or paid for our time. We are all at different stages of our editorial careers but we all feel it is important to actively support the work of the SfEP.
Our volunteer roles can be thought of as a bit of a side hustle.

Jo says: ‘I think you gain more than you give when you volunteer and that’s been true for my time volunteering with the SfEP. It’s injected a bit of discipline and structure into my working week, and at the same time I can piggyback onto the SfEP posts for personal use, which is a bonus.’

Cathy says: ‘Working in the social media team has helped me become more confident with the workings of Facebook and other platforms. It has helped me review my own social media strategy and revive my ailing LinkedIn account, which all helps raise the profile of my business.’

3. We share posts beforehand.

The team uses a closed Facebook group to share suggested links or ask questions. We lay claim to content that we find there, as well as content that we’ve found ourselves.

Cathy says: ‘I love finding interesting stories online, but my favourite part of the job is undoubtedly writing the text to go with the articles. It allows me to be creative in a way that I don’t have the opportunity for otherwise.’

The SfEP’s social media pages aim to provide links to useful or entertaining posts about books, language, editing and proofreading, and other issues to do with freelance life or running your own business. We also acknowledge the achievements of our members and promote the work of the SfEP. External links are interspersed with links to the SfEP website and blog, so that those who have discovered us only via our social media streams can find out more about the SfEP and perhaps even become members.

4. We are truly international.

About a third of our Facebook fans are from the USA, with 5,000 from the UK, and Canada, India, Australia and South Africa close behind in terms of numbers, followed by the Philippines, Mexico, Italy and Pakistan. Although we are a UK-based society, we try to bear this cultural variety in mind, for example by posting links that may be of particular interest to Canadians and Americans later in the day.

Rachel says: ‘Having recently moved out of the UK, I thought this would be a good way to stay in touch with the editing community and developments in publishing while I’m not working full time.’

5. We agonise over errors.

We’re painfully aware of how it looks if the SfEP’s posts have typos. But sometimes, as with any project, errors slip through when we are juggling paid work and other commitments with our admin roles. Believe us when we say we cringe and put it right as soon as we realise.

Anna says: ‘We beg a little patience from those who are quick to point out mistakes. We’re only human and we’d prefer comments to focus on the content of the links, not the introductory copy.’

Cathy says: ‘We can’t always get it right. We keep an eye on the comments so that we can respond as swiftly as possible when someone expresses disapproval or disappointment.’

6. It’s always a learning curve.

We don’t volunteer purely out of the goodness of our hearts – an element of continuing professional development is key.

Richard says: ‘It feels good doing something to contribute and it also keeps me up to date with what’s being posted around the internet.’

7. We’re always looking for more volunteers.

The formula of posting links to external content and the SfEP website and blog works well. A few people have said that our social media feeds are among the best they’ve seen from an organisation like ours. We’re delighted to receive such positive feedback and are proud of what we achieve as a team.

Anna says: ‘I love being part of a friendly, helpful and communicative team. I think we all work well together and there is a really strong sense of cohesion among us!’


If you’re a SfEP member and interested in joining the SfEP’s social media team, contact Vanessa Plaister: community@sfep.org.uk


This post is an updated version of Julia Sandford-Cooke’s post from January 2016: 10 things you didn’t know about the SfEP social media teams. Many thanks to Jo Johnston for the comprehensive revisions.

Photo credits: Happy jigsaw people – Alexas_Fotos from Pixabay; Smart phone Rami Al-zayat on Unsplash.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Plain English: new resources for editors

By Laura Ripper and Luke Finley

Are you thinking of adding plain-English editing to your services? Perhaps you have done so already, and you’d like to promote your service to more clients. Maybe you work in-house for an organisation that uses plain English, editing your colleagues’ writing. Or perhaps you’ve been hearing more about this thing known as ‘plain English’ lately, and you want to find out what it’s all about.

If that sounds like you, you might be interested in two new resources:

Using plain English (also known as plain language) helps organisations fulfil their purpose, whether it’s to make a difference in society or to make a profit for shareholders. Organisations in the public sector have a responsibility to communicate clearly so that people can use public services, understand how decisions affect them and take part in public life. Researchers write plain-English summaries to make academic knowledge accessible to more people. And private companies use plain English as a marketing tool and to save time and money on sorting out misunderstandings.

As more organisations see the advantages of using plain English, more of them are working with language professionals to make sure their documents are genuinely easy to read, use and understand. And more editors are working outside traditional publishing for the kinds of clients who want support with plain English, either as well as or in place of a ‘standard’ edit.

Plain English is about much more than word choice and sentence length; anyone who provides plain-English support needs to know about all the guidelines, techniques and tools and when to use them. Most importantly, they need to use them in a balanced and nuanced way. That puts editors, who are experienced in considering the finer points of language use as well as the wider context, in a good position to help.

If you want to find out about the basics of plain-English editing, the updated guide is a helpful introduction to what’s involved. If you want to learn more and gain some practice, the new course will help you to build on the skills you already have and use them in the context of plain English.

Editing into Plain English guide

We’ve updated the original SfEP guide on plain English, written by Sarah Carr, to reflect how the market has changed since it was first published.

What does it cover?

The guide is an introduction to plain-English editing. It includes information about:

  • What plain English is, and what it isn’t.
  • Evidence for the benefits of using plain English.
  • Training and qualifications.
  • Plain-English services you could provide, and how to price them.
  • Marketing your services and finding clients.
  • Working with clients in practice, especially non-publishers.
  • Software that can help.
  • Useful resources.

What’s changed since the first edition?

We’ve updated the guide throughout, but in particular you’ll find new information on:

  • Recent developments in plain English around the world, and which sectors are using it.
  • How plain English benefits business clients.
  • Ways to market your services and find clients.
  • What to consider when discussing a project with a client.
  • Resources and further reading.

Plain English for Editors online course

This new course looks at plain English from the perspective of editing. It explains how to use widely accepted guidelines to improve text that has already been written, and looks at the challenges involved.

Who is it for?

The course is for you if you:

  • Already provide plain-English services and want to develop your skills.
  • Want to branch out into providing plain-English services.
  • Want to use plain-English techniques as part of your other editing services.
  • Work in-house and edit colleagues’ writing.

What does it cover?

This course aims to explain what plain English is, give you the skills to use guidelines on plain-English editing with thought and care, and develop your understanding of how to market your services and deal with challenges. It covers:

  • What plain English is, and what it’s for.
  • The history of the plain-English ‘movement’ and more recent developments in uses and thinking.
  • Six main guidelines for plain-English editing, from word choice to layout.
  • Tools in Word and other software that can help, and the pitfalls to watch out for.
  • The practicalities of plain English editing – working with clients, dealing with misconceptions and challenging texts, and marketing your services.

The course gives you plenty of practice in using the guidelines with careful judgement, considering the context, the reader’s needs and the client’s needs. This helps you to develop the skills needed to genuinely improve clarity and ease of reading, rather than applying a set of ‘rules’ that simply tick a box.

In short, if you’re an editor offering plain-English services – or hoping to do so in future – these two resources will make an essential contribution to your continuing professional development (CPD). And if you’re a client or commissioner of editing services, and making your copy clear and easily understood is one of your priorities, you can be confident that any editor who draws on these resources is well equipped to help you achieve this.


Laura Ripper is a self-employed copy-editor and an Advanced Professional Member of the SfEP. She started out at Plain English Campaign in 2004, editing documents for private companies and public-sector organisations. After that she joined Foundations and then Digital Outreach – companies that worked with charities on behalf of the UK government. As an editor, she helped these companies communicate clearly with various audiences. She has also taught English as a foreign language in Russia and China. She has co-written the SfEP online course Plain English for Editors and the SfEP guide Editing into Plain English.

Luke Finley set up Luke Finley Editorial in 2013/14 and is an Advanced Professional Member of the SfEP. Most of his working life until 2014 was spent in the voluntary and public sectors, which gave him a keen interest in plain English and trying to persuade people to communciate more clearly. He also wrote and delivered various kinds of training. As an editor, he has presented on plain English at two SfEP conferences and is the co-author of (with Laura Ripper) the SfEP online course Plain English for Editors and (with Laura Ripper and Sarah Carr) the SfEP guide Editing into Plain English.


Head to the SfEP website to sign up for the Plain English for Editors course and to buy the Editing into Plain English guide.


Proofread by Joanne Heath, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

Learn and be inspired: Toronto mini-conference 2019

By Christine Stock

It’s autumn, and with the changing leaves and cooler temperatures, minds return to more work-related things, not least of all training and continuing professional development. Hot on the trail of the successful Society for Editors and Proofreaders (SfEP) Birmingham conference is the Toronto SfEP group’s second mini-conference; a conference international in content, speakers and delegates, on Wednesday 6 November. Jam-packed with international editing superstars, including both speakers and delegates – it’s not one to miss.

New to the schedule this year is a pre-conference workshop to be held on Tuesday 5 November. Dr Malini Devadas (Australia) holds a PhD in neuroscience but loves working with words more than working in a lab. An editor since 2004, Malini has spent a number of years studying marketing and the role mindset plays in gaining clients. Her workshop is ideal for any editor who wants more income, more clients, or both.

Whether you want to gain new skills or simply re-energise, this year’s one-day conference is for you. Leading off the day is the UK’s Paul Beverley (fondly known as Macro Man due to his impressive collection of more than 650 macros). Paul’s ‘marvellous macros’ will save us time and energy, not to mention make us look good. Paul’s tips, which he shares generously and with precise instruction, will provide delegates with a set of tools they can use immediately.

Next up is the renowned Jennifer Glossop (Canada). Jennifer’s impressive editing portfolio includes books that have won the Governor General’s Award and the Crime Writers of Canada Award, as well as those nominated for the Giller Prize and the Books in Canada First Novel Award. With more than 40 years’ experience in publishing, and with an extensive client list that includes Margaret Atwood and David Suzuki, her session on ‘finding the missing parts in a narrative’ is certain to assist both fiction and non-fiction editors alike, whether they are experienced or less experienced.

The afternoon’s presentations will be equally engaging and informative. Erin Brenner (US) will begin the sessions with a discussion on editing efficiently, a goal I’m certain we all have. Erin has been in the publishing industry for more than two decades and has published hundreds of articles and blog posts on writing and editing. Her experience as a writing trainer for communications specialists and her reputation as a highly skilled editor with top-notch professionalism will make her session a game-changer for those wanting time management and other efficiency advice.

Following Erin is Heather Ebbs (Canada), an indexer, writer and editor for nearly 40 years. Heather’s experience as a writer of hundreds of indexes covering a broad range of subjects and styles, as well as her role as instructor (since 2009) of Indexing: Theory and Application at the University of California Berkeley Extension Program, make her the ideal presenter for a session on all things indexing. Heather’s highly anticipated presentation will benefit both editors and indexers (and those who are interested in expanding into indexing).

Next is Amy Schneider (US), a freelance copyeditor and proofreader since 1995. Amy’s vast experience includes working on college textbooks, trade non-fiction, university press books and fiction in a variety of genres. An experienced presenter on editorial topics for numerous associations, including the Editorial Freelancers Association and ACES: The Society for Editing, Amy’s session on customising your workspace with templates promises to be chock-full of helpful takeaways.

My anticipation for the November activities is bolstered by fond memories of the Toronto SfEP group’s first mini-conference, which was held in 2018 and was equally international. I arrived at the beautiful venue eager to learn from the star-studded roster of speakers and left with ideas, tips and knowledge I just couldn’t wait to try out. Additionally, I shared insights, commiserated and joked with quickly made friends and colleagues. I had found my professional family.

This year’s conference and workshop, with the line-up of presenters, spread of delicious food and celebration of the SfEP’s recent chartership announcement, are bound to be a great success. If you’re looking for a reason to hone your skills, learn new tips, find a friendly, inclusive-minded and supportive group of editorial professionals, the conference and the workshop are for you. Presented by co-organisers Maya Berger, Kelly Lamb, Janet MacMillan and Rachel Small, it will be a day to be remembered and celebrated as wordsmiths unite. On behalf of the organisers and the rest of the local Toronto SfEP group, we hope to see you there.


Register for the Toronto mini-conference now!


Christine Stock is a Professional Member of the SfEP. She enjoys hot beverages on cold days and adores all things words and travel. Her editing specialities include fiction and creative non-fiction, and, in 2016, she was nominated for the Rosemary Shipton Award for Excellence in Book Editing provided by Ryerson University (Toronto). She can frequently be found at the corner coffee shop or at the monthly Toronto SfEP meetings.

 


Proofread by Alice McBrearty, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

Photo credits: Toronto sign at night Maarten van den Heuvel on Unsplash; Passion led us here – Ian Schneider on Unsplash.

Proofreading my way around the world

By Christina Petrides

Ever since I was a little girl, I have loved travelling. I don’t know if it’s the actual journey, the destination, the excitement of exploring, or a combination of all three but I know that I’m happiest in an airport, on a plane, arriving in a new country, and taking those first, tentative steps to discovering the culture of a new place.

That desire to travel has followed me my entire life. All through university and into my first job. Onto my second job. And my third. And on it went. My itchy feet syndrome came up regularly in conversation: Have I booked another trip yet? When am I next flying off? What fun stories can I regale them with from my last trip? I would take notes on my travels and dream of writing a book of short stories one day.

I put my wanderlust to the back of my mind as best I could and proceeded to build a career for myself in the environmental industry. That was my second love – the environment. When I graduated with an environmental degree, I got my first lucky break and found a job with the then Department for Environment working in the policy team. The job was interesting, but policy work bored me to tears. Things moved at a glacial speed whereas I thrived on the excitement and fast pace of project work.

Soon enough, I got lucky again. An internal move saw me land a job that allowed me to combine the two: promoting the environmental sector and travelling to Asia to do it. I got the excitement and the travels!

But cutbacks meant it couldn’t last forever, so after a couple of years I moved into environmental exhibitions marketing. That was my first experience of copyediting. In fact, it was probably the first time I’d ever heard the term. I wrote and edited advert copy, worked with designers on banners and flyers, and cut deals with trade magazines on placement and promotion. When the time came to proofread the show catalogue before it went to the printer I relished the detailed work and the opportunity to set things straight. This was other people’s businesses we were dealing with; we had to get it right.

I loved it, but not enough. Exhibitions were fun, but not what I wanted to do with the rest of my life. The environment sector pulled me back in and I settled into consultancy for the next decade. It had everything that I loved: I worked on all sorts of projects, large and small; I managed teams of specialists, juggling information and acting as the liaison between them and clients; I compiled reports from multiple authors, copyediting and proofreading before they went into the public domain; I even got to do a little travelling from time to time to unusual and exciting places.

By now I had hit my forties. Life has a funny way of reminding you what’s important when you get there. Call it a mid-life crisis, call it reality hitting, but a little seed planted itself in my mind and this time it wouldn’t go away – travel. Just get on a plane and go! Before long, that niggling thought became a screaming siren that I could no longer ignore.

I quit my job and booked a one-way ticket to Colombia. I was going to spend four months travelling around South America to get this out of my system and then get back to work. Even if it was only to save enough money for the next adventure. I blogged my way around six countries, documenting the stories that could one day make their way into that book, assuming I ever get around to writing it.

I remember it being a bright afternoon in Cusco, Peru, and I was walking up a cobblestone street filled with tourist shops when I made the decision. I realised that I couldn’t face another job and another decade of living in London, so I had to find a way of working while I travelled. I had met all sorts of people on my journey and one of them was a proofreader. It got me thinking … Don’t I already do that – at least in some form?

On my return, I made a call to the SfEP: What did I need to do to become a proofreader? They recommended the Publishing Training Centre, so I enrolled onto their Basic Proofreading course and studied before and after work. I gave myself a year to complete it, save up enough money and make a start on finding some clients.

It took 18 months. By the time my bags were packed I had a new career as a proofreader and copywriter and had four regular clients: a website designer who needed a proofreader and writer for the sites he built for tradespeople, retail and service providers; an agency that matched proofreaders with dyslexic and disabled students who required proofreading services; a financial services provider who needed a little extra help with their corporate communications; and an existing environmental client who wanted to retain my services as a freelance.

I also had a one-way ticket to Cambodia and a plan to spend the next few months travelling around Asia. After that, who knew?

This month marks two years since I packed up my flat and my bags and I haven’t looked back. Along the way I have spent time in 12 different countries and continued to add new clients to my books.

None of my clients are in the traditional publishing sector; it’s an area I know nothing about and trying to break into it seemed like an exercise in futility. Instead, I focused on what and who I knew. I spread the word about my new career and lifestyle and those that heard it spread it further. I leveraged the work experience I had from my previous careers and used it to demonstrate what I could do.

I still work in the environmental consultancy sector, albeit in a more strategic and reviewing role, and the various parts of my life have begun to overlap. One environmental client recently asked me to proofread a bid they had going out, and the travel blogger I proofread for loves the extra edits and suggestions he gets from me from places I’ve been to that he’s writing about.

I have done some very interesting work and I have done some mind-numbingly boring work. I have written website copy and blogs for accountants, plumbers, personal trainers, and wedding gown retailers – most of which I know nothing about so have had to learn, and fast. I have proofread theses and essays from subjects as varied as ecology, law and socioeconomics, newsletters on financial planning, and website content for restaurants, dentists, and market traders.

But I get to work at my own pace, in a location of my choosing, and without having to sweat my way to work on the tube. I learn something new from each proofreading and writing job that I do, and with each one I realise how much more there is still to learn. And I’ve already got the next exciting venture on the go, bringing it all together: a website for those who want to travel but are afraid to go it alone. If I can do it, you can do it too, whether you want to take your work with you or not.

Not that long ago Christina Petrides packed up her high heels and gave up her London Oyster card to work as a freelance. Having worked in the environmental and marketing sectors for nearly two decades, she now runs her own copywriting, proofreading and environmental consulting business. She is a life-long traveller; and just one of an increasing number of digital nomads making the most of good WiFi and flexible working.


SfEP’s Cloud Club is made up of a number of SfEP members located in countries around the world, together with members who are in far-flung parts of the UK and find it almost impossible to get to local group meetings perfect for digital nomads!


Proofread by Joanne Heath, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

Photo credits: Bogota, Colombia – Jorge Gardner on Unsplash;  Krong Siem Reap, Cambodia – Kevin Tomsett on Unsplash.

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

 

The right tone: how to edit writing about classical music

By Paul Kilbey

Editing classical music text is much like editing anything else, except that the text continually reminds you that the subject matter is a whole language of its own, but one that resists all attempts at translation or explication. True, classical music has its own vocabulary, but it is insufficient for many reasons: it’s horribly technical, it relies on huge amounts of background knowledge, and half of it is basically Italian. It’s difficult – and that’s an understatement – to capture in writing the essence of how the music feels, to hint at what it really seems to mean.

Try and describe what’s actually going on in a piece of music, and you will either get ludicrously specific very fast, or stay almost hopelessly vague. One of the first questions an editor has to ask is who the text is for: text for academics or knowledgeable classical music fans is quite different from text for newcomers, to the extent that specialist text can feel like its own dialect, much like legalese. Tell a newcomer, for instance, that the major-key exposition’s second subject is in the mediant, and they’ll look at you blankly – and quite right too. Tell an aficionado, and they’ll say, ‘Goodness gracious! You mean it isn’t in the dominant?’

While this is an issue when editing work on any topic, with classical music it is particularly acute. It’s vital to make sure that writers speak consistently in the right register (to borrow a musical term): to put yourself in the shoes of a reader with whatever level of musical knowledge, and make sure that the text will sound right to them. There’s a perpetual debate in classical music concerning elitism: an art form with wealthy patrons and connotations of high culture has to take special care not to appear cut off from society at large. Getting the tone of the text right is therefore a very delicate balance: newbies have to be welcomed with open arms, while connoisseurs must be treated unpatronisingly.

Having a decent knowledge of classical music isn’t a prerequisite for this sort of editorial work, but it’s certainly a great advantage. I studied music at university, and am thrilled to have found one of the few careers (outside actually performing or writing music) in which my knowledge of fugue terminology, Schoenberg opus numbers and the libretto to The Rake’s Progress has been genuinely helpful, rather than something to be irritatingly shown off at bad parties. It’s unpredictable which areas of knowledge will be called upon for a given editing task, but as well as understanding the full gamut of technical terms, from squillo to Personenregie, it’s important to have familiarity with the basics of not just Italian but also German and French. It doesn’t hurt to know how accents work in Hungarian, too. Plus, on occasion, you’ll need to navigate musical scores, to confirm tempo markings or texts or instrumentations. And of course, it helps to know what all the works you’re reading about actually sound like.

All that said, as an editor (and writer), I sometimes regret not studying English – I regretted this even during my degree, in fact, and still treasure the English faculty library pencil I plucked up the courage to buy in my fourth year. But studying music hasn’t just given me an editorial specialism: it’s also given me a different perspective from which to think about language in general. I often find myself reading text out loud, whether I’m editing it or not, because I want to hear how it sounds. I want to hear how the rhythms flow, how the vowels and the consonants arrange themselves as I say them. I listen to the cadences – a precise, analytical term in music, but beautifully ambiguous in language.

That’s why I take such joy in editing, I think: I like to make words sing. With just the smallest changes made, so much text can instantly become so sonorous. You can think of grammar, punctuation and syntax conventions as rigid rules, but I like to think of them as tools with which language can be made to sound as elegant as a song, as enthralling as a symphony, as dramatic as an opera.

None of this helps with the basic problem of how to effectively talk about music using language. That’s a problem that may not have a solution at all. But still, if we can never do justice to music through writing, the least we can do is use musical words.

Paul Kilbey is a freelance writer and editor who mainly works on classical music text. He is a Professional Member of the SfEP and lives in Munich.

 

 


Editorial Excellence is the SfEP’s e-newsletter; it aims to spread awareness of and encourage good practice in copyediting and proofreading.


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

Photo credits: music stand – Andrey Konstantinov on Unsplash; sheet music Marius Masalar on Unsplash.

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

Punctuating quotes: UK and US differences

Outside or inside, before or after? Punctuating quotes can be a bit of a minefield, as Luke Finley points out.Us-UK English

A quick search on the SfEP forums reveals that punctuating quotes is an area that trips many of us up – and not just those with less experience. This isn’t a surprise, because there’s extensive variation in the conventions. In this column I focus on quotes in non-fiction texts: conventions for reported speech in fiction are arguably even more subjective.

Academic/formal writing

In academic writing and other materials that cite in a strict academic style (policy papers and the like), the conventions are fairly fixed.

UK/US variation

In US English, closing punctuation goes inside the quote marks, whether the quote is a complete sentence or not, and whether the punctuation was there in the original quoted material or not:

Svolik identifies the “twin problems of dictatorship,” going on to explore how different institutions address these problems.

In UK English, in the same example the comma would follow the closing quote mark (which would more usually be a single quote mark – but that’s another story). However, UK English does put the closing punctuation inside the quote marks if the quote is, or ends with, a complete sentence:

Balkin says that ‘almost all political activity may be constitutional. Often we may only know what counts later on, when practice and precedents become settled.’

Punctuating with citations

Where a parenthetical citation (eg in author–date style) appears immediately after the quote, the punctuation follows it, in UK or US style:

‘… precedents become settled’ (Balkin, 2011).

Displayed quotes

In displayed quotes there are typically no quote marks to interfere with the closing punctuation. In this case, if there is a citation it follows the closing punctuation:

… precedents become settled. (Balkin, 2011)

Other non-fiction texts

Separating quotes from text

Where quoted material is part of a longer sentence, it’s often separated from the text using commas:

He said, ‘show me where the comma should be’.

In more formal writing, or where the quoted material is longer, a colon might take the place of the comma. Or it might be omitted altogether for very short quotes or where the quote is integrated into the syntax of the sentence:

About commas, he said simply ‘Hate them!’

He said that he was kept awake at night worrying about ‘the horrors of punctuation’.

Punctuation inside or out?

The UK approach is generally to be guided by whether or not the punctuation ‘belongs’ to the quoted matter. ‘Belongs’ is often interpreted (eg The Economist Style Guide goo.gl/w52udb) to mean a natural pause regardless of how the original quote was punctuated.

‘This sentence’, she said, ‘has a full stop but no commas.’

‘On the other hand,’ she continued, ‘this sentence has both.’

The US approach – which is common in British fiction and increasingly in journalistic writing – is to punctuate inside the quote marks regardless of whether the sense of the quoted matter requires it.

Use your own good judgement

As is clear from my qualified statements, these are conventions, not hard-and-fast rules. Sources such as Butcher’s Copy-editing and New Hart’s Rules are good for the range of approaches but don’t necessarily tell you which to use in a particular case. Others, such as Trask’s Penguin Guide to Punctuation, offer their own preferred approach – which may be clear and persuasively argued, but doesn’t necessarily preclude a different approach.

In the end, it comes down to your client’s preference, the need for consistency and your own judgement. For example, Trask argues for minimal punctuation – why use additional marks to signal that a quote is coming up when the quote marks already do that job? This notion is attractively straightforward but, as an editor or especially as a proofreader, you won’t always be in a position to impose such an approach.

 

Luke FinleyLuke Finley, an Advanced Professional Member of the SfEP, set up Luke Finley Editorial in 2013 and left the public sector soon after, to edit and proofread full time. He will edit just about anything but specialises in social policy.

 

 


This article first appeared in the SfEP magazine, Editing Matters, in November 2016.


Posted by Abi Saffrey, SfEP blog coordinator.

Picture credit: raphink, on Pixabay.

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

Our SfEP local group – the first decade: ten years, ten observations

By Helen Stevens

In March 2009, on a whim, I contacted a local proofreader I’d come across when nosing around on Yell.com. We met for coffee and chatted about the possibility of starting a local SfEP group, and a couple of months later the first meeting of the West/North Yorkshire SfEP local group took place. Around 20 people came along – an amazing number for an initial gathering!

Having met every three months over the intervening years, in June 2019 we held our 41st local group meeting. Our theme for the meeting was onscreen mark-up (Google Docs, PDFs and Word Track Changes) – not a particularly celebratory topic, perhaps. But a couple of weeks later we got together for an unofficial tenth anniversary social event, enjoying a traditional Yorkshire curry and some more relaxed conversation.

Here are ten things I’ve learned from running the West/North Yorkshire SfEP local group for ten years.

1. There’s always something to talk about

I don’t particularly enjoy face-to-face networking, and I’m no fan of small talk, but when you’re among editors and proofreaders that doesn’t seem to be a problem. Whether you’re a complete newbie or an old hand, you can always chat about training, different types of editing and proofreading work, business issues (particularly if you’re a freelancer), previous work experience, etc. And most people are also happy to answer your questions about such topics, which can add another dimension to your own research in books or on websites.

2. I *can* organise an event

Several years ago I helped to organise a couple of major local events for a client, and I vowed never to do it again (too stressful!). Our local group meetings are kept deliberately low-key, but still require me to book a room at a suitable venue (see below), send out invitations, make sure we have a theme, keep a check on the numbers attending, liaise with the venue and ‘chair’ the meeting. There’s also a little bit of background admin: adding people to my email list and removing them as appropriate (in line with GDPR), notifying the SfEP community director of the date/time of our meetings and so on. This is all well within my comfort zone – and it seems to have worked so far.

3. The venue can be the biggest headache

I’m not talking about the helpfulness of the staff, the quality of the coffee or the hardness of the chairs – although they are significant factors. More importantly, the venue needs to be reasonably accessible (in terms of both transport links and individual mobility), cheap or free to use and of a suitable size for the number of people attending. The acoustics of the place can also be an issue if you’re hoping to have any sort of group discussion.

Our first meeting was in the lovely diner at Salts Mill (very noisy). We’ve since met at a nearby local café (we stopped meeting there when they suddenly wanted a booking deposit), upstairs at a couple of other cafés (one closed down, one could no longer accommodate a large group) and now in a smaller café in Salts Mill that’s reserved for our meeting. I’m not sure there’s such a thing as a perfect venue – the trick is to find one that ticks as many boxes as possible.

4. There isn’t a time/day that will suit everyone

I have to hold my hand up and say that when I started the group, I chose a time (and, indeed, a location) that suited me, but I recognise that our meeting times won’t suit everyone. We’ve always met during the day, and of course some people who’d like to attend simply aren’t available then. Holding evening meetings would be an option, but that wouldn’t suit everyone either (and would mean finding a new venue – see above!). We do at least vary the days of our meetings, as some members of the group have firm commitments (work or otherwise) that mean they can’t come on particular days. But the search for that elusive ‘perfect time’ continues…

5. Something with a theme works best

For the first couple of years our meetings were simply a chance for general (professional/social) chat, and that seemed to work fine. When we moved our meetings to a room upstairs in a local café, we had the opportunity for more focused discussions, and I think that has worked well. New people have a chance to find out about a specific topic, and it gives more experienced editors and proofreaders more of a reason to come to the meeting and share their experience (and, indeed, learn something new). It can be a challenge to find themes that appeal to such a wide range of people. Several group members have led sessions: we’ve had talks on public speaking training, proofreading annual reports, and editing from a fiction author’s point of view, as well as a very successful session on grammar, spelling and punctuation niggles. And we usually end the year with an ‘editorial highs and lows’ session in December: most people have had a high or low of some kind, whatever their level of experience.

6. People will come and go

The people who come along to our meetings are a constantly changing group. Yes, there are those who’ve been attending regularly for years (and some of these even came to that very first gathering). But we also have people who have been to one or two meetings and then (for whatever reason) didn’t come again, as well as those who’ve attended regularly until they retired, moved away from the area or decided on a different career path. This ever-changing membership helps to keep our meetings fresh, while still allowing participants to get to know a few familiar faces.

7. People will travel great distances for meetings

I chose Saltaire for our meetings because it’s reasonably well served by public transport and road links (as well as being a lovely place that’s right on my doorstep). But I’ve been really surprised over the years at the distances people are willing to travel to come to our group. From the earliest days we had a couple of members who came all the way from the wilds of the Yorkshire Dales, and we regularly have participants from Leeds, Wakefield, Doncaster, Huddersfield, Hull – and even darkest Lancashire! At the other end of the spectrum, and from a personal point of view, it’s also been great for me to get to know editors and proofreaders who live within a mile or two of me.

8. People are very different

Anyone who’s spent any time at all around editors and proofreaders will realise that there’s no such thing as ‘typical’. Our group welcomes those who are just considering a career in editing or proofreading, those who’ve started their training, those who’ve been working in the profession for a while and those who might be termed ‘veterans’. Some of them work on fiction, some specialise in legal, corporate, scientific or academic fields, and some do a little bit of everything! Although it’s sometimes a challenge to cater for all these disparate interests, I definitely think our meetings benefit from this mix.

9. We all learn from each other

Linked to the previous point, I think we all have a lot to learn from each other, whatever our level of experience or area of interest. Someone who’s new to the profession might have a deep knowledge of the different training options available. In-house staff will have different perspectives from those who work as freelancers. And we can definitely all learn from each other when it comes to the technical side of our work, whether that’s software tools to help with the job, social media platforms for marketing our services, different methods of getting paid or tax requirements for sole traders.

10. Local groups are vital for the SfEP

A thriving local group is a great way in to the SfEP. The discussions we have at our meetings aren’t designed to promote the Society explicitly, but I do think being part of a local group gives people a sense of what the SfEP is about: mutual support, learning, sharing ideas and experience and meeting like-minded others. From the Society’s point of view, getting people involved in local groups can be great for member recruitment and retention. For example, two people who’ve been involved in the West/North Yorkshire group now run other local groups, strengthening their personal engagement with the SfEP. Such engagement can feed through to regional mini-conferences and to the main SfEP conference: it’s so much nicer to attend an event if you know there are going to be at least a few familiar faces.

I’ve learned a lot during the SfEP West/North Yorkshire local group’s first ten years. It was lovely to mark the occasion with a relaxed social event, and I’m looking forward to the next ten years (if only because it’ll be an excuse for another curry).

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

 


There are SfEP local groups all over the UK – as well as in Toronto, Canada. There is also an international Cloud Club for those unable to attend meetings in person.


Proofread by Victoria Hunt, Intermediate Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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


 

Wise owls: the best thing about the SfEP conference

It’s SfEP conference week, and attendees are starting to get excited and/or nervous! The wise owls are here to let first timers know what they’ve got to look forward to, and to remind old hands why they keep going back.

Melanie ThompsonMelanie Thompson

What’s the best thing about the SfEP conference? I didn’t need to spend any time at all thinking how to answer that question: it’s the people!

I’ve been to many other work-related conferences, and none are so friendly or welcoming. The first conference I attended was in Edinburgh (in the early 2000s). A meal was arranged for the first evening, and a Council member said hello and introduced me to some other people and I haven’t looked back. I still chat regularly to some of those I met on that first evening and, as I often say in answer to similar questions, I wouldn’t have been able to stay freelance for almost 20 years without the supportive and helpful people in this Society. You’re all bloomin’ marvellous!

Oh, and the opportunity to take part in concentrated, high-quality CPD is, of course, very valuable.

Sue LittlefordSue Littleford

The absolute best thing about the SfEP conference is getting outside your own work bubble. Quite aside from the risk of isolation for those who work freelance from home, for those of us who have never worked in-house (and we are legion), it’s easy to develop your own ways of doing things, not really knowing how you compare on the standard of your work itself and what is best (or at least better) practice in how you handle your clients and approach your workload. If you’re in-house, but have had only one publisher employer, it’s so easy to believe that their way is the only way, or certainly the best way, of working. The conference gives you the chance to go to sessions that will enhance your appreciation of your position within Editor Land – and even if all you get from a particular workshop is validation of your own routine (comforting and confidence-building as that is), then a comment your neighbour makes during an exercise, or a question someone raises, or answers, may be like a lightning bolt. That’s happened to me several times, to my immediate benefit (and that of my clients).

And once you’ve been to enough conferences that you’ve covered all the core skills from several angles, there’s always more. Go to a session that you normally wouldn’t think of (to my regret, I keep missing the bookbinding events. One day … !) or one of the panel discussions and step into the wider editorial world.

Liz Jones

Yes, there’s the CPD aspect, the cooked breakfast, the lockable door on a room of one’s own, the challenging campus map, the possibilities for fruitful networking. But the best thing of all about the SfEP conference – and I say this as a confirmed introvert who is easily exhausted by too much time in the company of others – is the people. Forty-eight whole hours among kindred spirits: collectively some of the most welcoming, humble, skilled, interesting, humorous and supportive people I’ve ever encountered. I’ve been attending the conference since 2013, with one year off, and it’s one of the highlights of my year. I talk (and listen) enough during those two days to last me for the remaining 12 months, and it makes me very happy.

Louise BolotinLouise Bolotin

Is there anything that is not a best thing about the conference? That’s not a rhetorical question – there is so much that is good, nay brilliant, about our annual gathering that it’s hard to decide what deserves the title of ‘best’. The workshops and seminars are invariably informative, useful and enlightening. Sometimes even career-changing. Last year, my big takeaway was the decision to do the SfEP course on medical editing after attending Julia Slone-Murphy’s introductory workshop. I’d been toying with a move into this kind of editing for a while, and the workshop confirmed I should do so. A year later, I’ve yet to sign up for training – I’ve been too busy with work and a family crisis – but I’ve earmarked time for this autumn to get started. I also found the workshop on growing your business packed with simple and free ideas that I’d never even thought of before, let alone considered. It is these kinds of sessions that are a major attraction for me – the chance to learn something new and apply it to how I earn my living.

Then there’s the lectures – as entertaining as they are educational. The opportunity to hear experts on the future of our industry, or expounding on some language issue or other, is something all delegates should get out of bed for in time! Last year’s lecture on US v UK English by Lynne Murphy was a classic – buttock-clenchingly hilarious, but also with serious points to make on the nuances of editing. (Ditto the mini lecture on dealing with the sweary stuff – which was educative, informative and a full-on side splitter.)

In the end, it’s the people who make it what it is. The chance to put names to forum avatars, catch up and have a good gossip with long-standing colleagues, meet the directors, and basically just hang out. The conference is work, but it’s also a break from work and hanging out with other editors really is one of the best bits. Just don’t do what I did and rush up to someone you’ve been dying to meet for a decade just as they’re entering a toilet cubicle …

Hazel BirdHazel Bird

For me, the best thing about the SfEP conference is its ability to shake me out of my tree. Don’t get me wrong, I peer out from between the branches regularly by attending local groups, following editorial discussions online, and generally expanding my awareness of editorial techniques and perspectives. However, at the SfEP conference, the sheer volume of information that you get – and the unexpected, serendipitous, surprising nature of it all – is unbeatable.

I’ve been to five conferences in the past and have returned from each one re-energised and refocused. Sometimes the snippets I’ve picked up are more directly editorially relevant and sometimes the link is more tangential. For example, at the 2017 conference I was finally persuaded to try TextExpander, which has sped up the repetitive aspects of my communications with authors considerably. However, at the same conference, Julia Sandford-Cooke mentioned the podcast How I Built This, which is a series of interviews with world-famous entrepreneurs. The scale and nature of their ventures are a million miles away from mine, but the show has become one of my staples for its ability to make me think about how I run my business and relate to my clients. Other times at conferences, sessions have simply boosted my confidence in a skill I already had or given me a shot of enthusiasm to try something new.

I thoroughly recommend the SfEP conference for its ability to support us all in being informed, educated and enthusiastic editorial professionals.


This year’s SfEP conference runs from 14 to 16 September, at Aston University, Birmingham. Follow what’s happening on Twitter (and other social media platforms): the hashtag is #sfep2019


Proofread by Alice McBrearty, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

 

Five things to take to the SfEP conference

By Abi Saffrey

It’s just over a week until the 2019 SfEP conference. This year, I’m leading a workshop on editorial project management but, while writing my slides, I got a bit distracted by thinking about what I need to take with me. And then I started to wonder what other delegates would be taking with them, so I went onto the SfEP’s conference forum and asked. Here are my (and my respected colleagues’) recommendations of what to put in that wheelie case before heading to Aston University in Birmingham on 14 September.

1. Home comforts

Conference accommodation can be unpredictable – the pillows too firm, the duvets too thick, the shower room too tiny – but it’s possible to mitigate those issues by taking something from home. Okay, you can’t take your bathroom, but you could take a pillow or pillowcase, a sheet, even a small fan. At some venues, if you bring a hairdryer, you’ll gain brownie points from other delegates. They may even stand you a drink at the bar. But this year we can all travel light, because Aston’s rooms are truly luxurious with hairdryers, irons (and accompanying boards), fans, bedside lights and adequately sized bathrooms.

2. Food and drink

I will be taking my refillable water bottle, because I love a bit of hydration – especially important in air-conditioned seminar rooms and when spending the best part of three days talking (and laughing). Emergency and preferred teabags are worth shoving in your case, as you never know what will be on offer in bedrooms or at break times. Ditto snack items – whether you prefer sweets or bananas, you’re going to need energy to keep the brain whirring.

Good news: there is a small supermarket a short stroll from the Aston conference centre, so Minstrels are always within reach (other chocolate products are available).

3. Something for the quiet moments

Conferences are tiring, especially if you normally work at home with only a furry companion to talk to for hours on end. How strange that editors often take books with them for their downtime. Other portable hobbies that can provide an essential mental and physical breather include music, colouring, sketching, sewing, running and wine.

Aston does have a delightful little swimming pool that is open to delegates at certain times, so remember to pack appropriate attire if you fancy a dip. This year, there will also be a Quiet Room in the conference centre, so that delegates can easily take time out during the busy days.

4. Something for the actual conference

It turns out that the SfEP conference isn’t all about chatting with edibuddies; there’s also some of that there learning going on. Take an open mind and some confidence – listen to others’ ideas and speak your own. If you’re prone to a grumpy resting face, see if you can dig out a smile or two (for use when appropriate).

You’ll need something to take notes with/on, whether that’s a laptop, mobile device or a notebook and pens (preferably lots, and in different colours). And don’t forget the charger (and additional power pack) for those electronic devices, especially if you’re live tweeting (this year, the conference’s hashtag is #sfep2019).

Consider your clothing selections – a conference is not the right time to try out new shoes. Go comfy (and clean).

Remember business cards in case of networking successes or prize draws.

5. Medication

Nearly everyone who responded to my call for suggestions mentioned medication – either for an existing condition or painkillers for the headaches that come from thinking, talking and those lightbulb moments. (I refer the honourable reader to the earlier point about hydration.)

And don’t forget!

It’s the UK! The weather does what it wants. It turns out that coats quite often get left at home, and are later missed.


With thanks to SfEP conference goers and forum regulars, veterans and devotees: Hugh Jackson, Helen Stevens, Anya Hastwell, Sue Browning, Julia Sandford-Cooke, Luke Finley, Jane Hammett, Denise Cowle, Margaret Hunter, Jane Moody, Beth Hamer, Cathy Tingle, Sabine Citron and Melanie Thompson (and those who have contributed to the discussion after this was written).

 

Abi Saffrey will be taking decaf teabags, a water bottle, her swimmers, well-worn trainers, bananas, her laptop, her resting grumpy face and hopefully a completed set of PowerPoint slides to this year’s conference.

 

 

Proofread by Victoria Hunt, Intermediate Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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