Tag Archives: courses

Wise owls: the best CPD I’ve ever done

The wise owls are soaring into summer with some reflections on the best continuous professional development (CPD) they have undertaken.

Melanie Thompson reading the SfEP guide 'Pricing your project'Melanie Thompson

About 25 years ago my employer sent me on a three-day training course called ‘Selling for non-sales staff’ (or some such title). The underlying ethos of the course was that people buy from people and that it’s best to engage potential clients in conversations to try to find out their aims and needs rather than to deluge them with a list of your (your company’s/product’s) ‘features and benefits’. It all seems rather obvious, once you pause to think of it, and it’s something I’ve tried to remember ever since.

But I learned a much more important lesson during the role play (two words that fill many freelancers with dread); namely that it’s important to ask open questions. At that point, with only a few years’ work experience under my belt I’d never even heard of the concept of ‘open’ and ‘closed’ questions. That was one of the most valuable lessons I have ever been given – of benefit for both business and personal interactions.

Sue LittlefordSue Littleford

I’ve done plenty of CPD as a copy-editor, but the best was probably a one-day business finance course I did yonks ago. From that course I picked up two nuggets, both of which I’m apt to trot out at the least provocation: (1) it’s easier to save money than to make money (as I said last time) and (2) cashflow is even more important than profit.

Cashflow is simply having enough money coming in to cover your commitments: enough to pay your mortgage or rent, fuel and power, tax bill and internet connection, and still put food on the table. But freelancing doesn’t lend itself particularly easily to smooth cashflow. This is why budgeting is so important – you need to understand how much money you need to make and when your invoices are likely to be paid, follow up late payment quickly and often, and price your work correctly. It’s also vital to do all you can to build up a cushion to tide you over the lean months. With many business clients paying on a 30-, 45- or even 60-day cycle, you can find yourself with loads of cash one month and almost nothing the next, even if you’ve been working steadily. Calculate what you need and make it a priority to save enough in the bank so that you can still pay your bills – and replenish what you spend. Then squirrel away a bit more to help you should a client suddenly go bust. After that, you can go and whoop it up in the fat months!

Liz Jones

I’ve undertaken plenty of CPD in the decade I’ve been freelance, including attending various SfEP courses and five conferences. They’ve all helped me a lot in terms of teaching me new things, giving me more confidence to run my business, and helping me access a wonderful international community of editorial professionals. Perhaps the thing that has been best for my own learning, though, has been teaching other editors via the SfEP’s mentoring programme.

Helping others learn how to do things has compelled me to examine my own practice, and improve it. It’s been necessary for me to find out more about how to do things myself to be able to explain to others how to do them. I’ve been amazed by the high standard of many of the people I have mentored over the years, in copy-editing and proofreading – and inspired to up my game as a result.

Nik ProwseNik Prowse

I was lucky when I started in publishing that I found an employer willing to train me, fresh from my PhD, in copy-editing and proofreading. Those classroom courses at Book House in London – three days of copy-editing and one of proofreading, run by the Publishing Training Centre – were the most valuable of my career as they set me up in what I was going to do, every day, working in-house. The experience I gained on the job after that had a firm bedrock on which it could be built. But is that CPD? I’d only just started so it was more like IPD – initial professional development.

But since being freelance it’s harder to point to any one day or piece of CPD and say ‘yes, that’s the best bit’ because CPD builds you incrementally into the publishing professional you are at any point. Once you have done the basic training the continuation and building of a career is less about huge leaps in knowledge and more about little nuggets of information and wisdom that change one’s practice and allow you to make small improvements in the services that you provide. On reflection, in recent years my most inspiring piece of CPD in terms of the renewed enthusiasm that it gave me was the SfEP’s Education Day in London in early 2018. It featured a day of speakers who weren’t so much teaching as giving a state of the industry, a snapshot of the state of affairs for editors. After that event I wanted to improve the service I give to educational publishers, as it’s an aspect of my work that I hugely enjoy but which is also challenging too, at times. That day was less about learning something new and more about garnering a new resolve for the work that I do.

Margaret HunterMargaret Hunter

The best CPD I’ve ever done is undoubtedly all the opportunities I’ve had for learning on the job. I love how pondering the different writing styles (and quirks) of different authors makes me question my assumptions. If something’s not written the way I would do it, is it wrong, or do I need to broaden my editorial horizons?

I’ve been editing for a long time but I still get stopped in my tracks and have to look things up, and I think that’s no bad thing. It also makes me think about how much (or how little) to change and how to let the author’s style through, rather than my own preferences. (But I do love a job where the author doesn’t care and is happy for me to preference away!)

Sometimes an author does something ‘odd’ so consistently that I begin to doubt myself, and often the more I look at it the more odd it looks! It’s a great opportunity to look up various style guides, consult the reference books or ask on the SfEP forum. It’s great revision, or it’s a great revelation. In any event, it’s great CPD.

LLouise Bolotinouise Bolotin

Back in 2001, I joined the editorial team at a large investment bank in the Netherlands where I worked on a huge range of equity analysis reports. I had only a lay knowledge of stocks, shares and the markets when I took the job. My boss sent me to London for a week to learn how to analyse and value a company. I didn’t quite manage to complete the final tasks on the last day – they required too much algebra, but I learned so much anyway. I’d never thought myself very numerate, despite being able to tot up Scrabble scores in my head and check a restaurant bill is correct. The course proved otherwise – I am. And I can read balance sheets, profit and loss accounts and more like a pro. I can skim a financial report and instantly understand the underlying issues. I can scan financial tables and errors leap out at me. Best of all, I gained confidence in my ability to handle figures. And while I still edit financial materials of all sorts, I can apply what I learned on the course to all kinds of other things I edit (annual reports a speciality). So thank you, Frans!


The SfEP’s parliament of wise owls started sharing wisdom and experiences back in 2016. All of the wise owls are Advanced Professional Members, with many years of experience and thousands of hours of CPD between them.


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.

 

What I learned from the pre-conference editing fiction course

By Sara Donaldson

Three Little Pigs and a (not so?) Big Bad Wolf

Three Little Pigs and a (not so?) Big Bad Wolf

This year is the first year in a very long time that I have been able to even contemplate attending an SfEP conference; usually conference time falls during term-time making it virtually impossible for me to attend. However, when I saw the dates for the 2015 conference at Derwent College in York, attendance became a possibility as I knew my daughter would have recently left school and York is close enough to ‘home’ that a visit, plus conference, was feasible. And once I saw the topic of the pre-conference course, I knew I had to attend. This was my chance to gain face-to-face basic training on something I have been toying with for years – fiction editing.

By the time I arrived at the York campus on the morning of Saturday 5th September I was slightly frazzled. A 12-hour drive from the far north of Scotland the previous day, followed by an early morning drive from Whitby to the one part of York I didn’t really know, meant that I was too tired to be nervous about jumping in at the deep end and meeting a bunch of professionals I didn’t really know. By the time I sat down in the well-hidden tutorial room all thoughts of imposter syndrome had vanished. I’d fluffed the hoped for brilliant first impression I’d make as I didn’t so much introduce myself to the first person I met as headed off in the opposite direction back to the car park to collect some forgotten items. Thank goodness there was plenty of coffee!

The group was comfortably small, with around 10 attendees, and as we all sat at desks in a horseshoe formation (much better than in groups), we introduced ourselves to the room and to Gale Winskill and Stephen Cashmore, our tutors for the day. By this time I was a bit apprehensive – my route into editorship was a bit convoluted, so who was I to sit in a room among ‘real’ editors when I’ve only really worked on non-fiction and still find it hard to actually say I’m an editor? But the worry soon subsided as we started the course and my brain kicked in.

Gale started off by going into detail about the different types of client we should expect to work for as fiction editors, and what they actually expect from us. She also explained how self-publishing does not necessarily mean that the author cannot get a publishing deal; they may simply prefer the hands-on approach and want to feel in control of their creations. We then discussed how to quote for a job (this course concentrated on copy-editing of fiction, not structural editing), what to look out for and the different ways of working on a text. It had honestly never occurred to me that self-publishing authors would not like tracked changes on a Word document, and that they may not care about the changes you make to spelling, punctuation and grammar. It really brought home to me that working on non-fiction has spoiled me somewhat; I tend to take some of my working practices for granted and assume they are the norm, although my meticulous style sheet habit will stand me in good stead.

We moved onto plot and structure (with more coffee), and discovered the differences between premise, theme and plot, before moving into more detail on structure and what we, as editors, should be looking out for. The first exercise of the day had us writing premises and a theme for the Wolf’s Story from the Three Little Pigs. Loved it! By the end of the day I had become particularly fond of Mr Wolf.

While Gale was having a well-deserved rest we moved onto dialogue with Stephen. I found this really interesting, especially as it showed me that I actually know what I’m doing. I loved his take on fidgets and throat-clearing. Erm … well … yeah, like … I really did actually.

I know we stopped for lunch at some point … then came voice, style and point of view. Now POV is something I really need to practise – internal, external, first-person, third-person … it’s enough to make your head spin when you think about it. Luckily our handout is great for explaining it in more detail, better than my scribbled notes, so I shall be going back to that frequently.

Consistency was great; plot-holes, timelines and setting appeal to my inner perfectionist. Feedback among the group reminded me of a time when I noticed a helicopter travelling a LOT further than it was capable of in one of the novels I was reading for pleasure. Glad it’s not just me who notices these things when they’re not working!

We worked through character, style and how books in a series should be treated, then finally looked at critiques, synopses and blurbs. Now critiquing is something I’ve been curious about, as it’s always been a mystery to me how an editor actually moves into critiquing, and by the end of the session I came away believing that, far from being something I could never do, this was something I really could do. And the blurb discussion showed me that I’m doing things right (I often write the blurb for a regular client’s books).

So what did I get out of this pre-conference editing fiction course? Lots!

The exercises scared me at first (what if I really wasn’t good enough?), but they showed me that my training has been good, my experience has counted for something and that I really can call myself an editor. I’ve also come to realise that, rather than being a leap too far, I can move into fiction editing if I want to. I just have to take it slowly and use what I have learned (and continue training). Finally, this course gave me my first real-life meeting with real editors and I loved every minute of it. I’m glad to be associated with such a lovely bunch of people, and this course has given me the confidence to look further at fiction editing without the horror of the unknown.

If you are interested in training for editing fiction, look at the SfEP online course Introduction to fiction editing

Sara DonaldsonSara Donaldson is an editor with an eye for a mystery. When not editing a range of projects she can be found with her Sherlock hat on as a professional genealogist, or in the theatre doing what needs to be done. You’ll find her at northerneditorial.co.uk.

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

 

Posted by Margaret Hunter, SfEP marketing and PR director. Proofread by Carina Bailey.

Top quality editorial training for 2015

SfEP logoMake 2015 the year you start your editorial training, or commit to continuing professional development (CPD). The Society for Editors and Proofreaders (SfEP) offers a range of classroom courses on aspects of editorial practice at centres around the UK, run by our highly experienced and knowledgeable trainers.

Why train in the classroom?

We believe that our classroom-based courses offer unique benefits:

  • Networking and social opportunities – meet like-minded course delegates, and discuss your interests and concerns with your tutor.
  • Answers in real time – get instant feedback on exercises, and see how others tackle things.
  • Make a day of it – it’s easy, as a freelance, to get stuck behind your desk. Enjoy your time away!

Courses for beginners

Copy-editing 1 (Introduction)
Cambridge, 4 March 2015
Proofreading 1 (Introduction)
Edinburgh, 20 February 2015
London, 6 March 2015
These basic courses are perfect if you need to copy-edit or proofread as part of your job but have had little formal training.

Getting work with non-publishers
Bristol, 23 May 2015
This course helps you reflect on how you can promote your business to non-publishers, and fine-tune your networking activities to get more – and better paid – work.

Going freelance and staying there
York, 17 February 2015
This course provides essential information on the business and organisational aspects of setting up as a freelance.

Courses for improvers

Copy-editing 2 (Progress)
London, 12 March 2015
Proofreading 2 (Progress)
London, 18 February 2015
These courses are suited to those wishing to update, refresh or check their skills in these areas.

Brush up your copy-editing
London, 19 February 2015
This workshop aims to consolidate and extend skills evolved through trial and error, and put editorial tasks in the context of the whole publishing process.

Brush up your grammar
London, 5 March 2015
This course is suitable for anyone working with text and hoping to gain confidence that they are making good decisions in what they write.

On-screen editing 1
London, 2 March 2015
This course is designed to introduce techniques to increase efficiency and improve working practices for those who do a lot of on-screen editing. (It can also be taken with On-screen editing 2, below.)

Introduction to web editorial skills
Edinburgh, 16 March 2015
This workshop is designed for those who want to adapt their editorial skills for a digital medium, or who are responsible for web content but have no editorial skills.

Professional copy-editing
Oxford, 21 April 2015
Designed for those who have taken introductory courses and done some copy-editing work, this workshop teaches crucial skills that will help you offer your clients the kind of service they’ll want again and again.

Advanced courses

On-screen editing 2
London, 3 March 2015
This course is designed to introduce more advanced techniques for improved efficiency for those already experienced in on-screen editing. (It can follow on from On-screen editing 1, above.)

Proofreading for accreditation
London, 1 April 2015
This advanced course aims to help delegates decide whether they’re ready to take the SfEP accreditation test in proofreading.

Find out more

For more about the content of the courses, and to book, visit the Training section of our website.