Tag Archives: Society for Editors and Proofreaders

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

The 2018 SfEP conference: a day in a delegate’s life

By Louise Bolotin

I’m a bit of an old hand at SfEP conferences, but this year’s was my first since 2014 – I was enticed by the programme of events – on both days, there were sessions I was keen to attend that would either help me move me into future subject areas I was already toying with, or would help me run my business better.

After Saturday’s AGM, it was time to hit the bar before dinner and meet colleagues I’d previously only known as avatars. Plenty of gin, dinner and a raucous pub quiz meant I went to bed looking forward to getting stuck in next day. (Gin, by the way, is an essential food group conference lubricant.) And no matter how late you stay up drinking in the bar, I recommend getting up in good time for breakfast. I didn’t and by the time I got there, the coffee was all gone. And so I arrived at Sunday’s plenary uncaffeinated, but it didn’t matter.

Mug with text 'I'm sorry for what I said before I had my coffee'

The same but different

Lynne Murphy’s Whitcombe Lecture on editing American English versus British English was witty, entertaining and informative. Slides can often be dull, merely parroting what the speaker is saying, or a distraction because you’re trying to read the slide rather than listening. Lynne’s were neither –entertaining cartoons depicted how Brits and Americans are only different on the surface, something that also applies to how they write.

Her slides about a survey she had conducted of US and UK editors and how they approached their work were enlightening. Some of the differences were quite stark – British editors are more intuitive, it seems, often making changes because ‘it feels right’. Conversely, American editors are more concerned with the mechanics of editing and fact-checking. No doubt something that really resonated for many of us if the queue to buy signed copies of Lynne’s book, The Prodigal Tongue, after the lecture were any measure.

A change of mindset when it comes to expanding our client base is something we should probably all consider, that old cliché about thinking outside the box. So I was intrigued by the title of Alison Hughes’ workshop – The budget and beyond: growing your business organically. Lots of sole traders find spare cash for marketing can fluctuate, so I was pleased she had lots of really creative ideas on offer that cost little or nothing. But first, she outlined what were for her, and no doubt most of us, non-negotiable expenses – membership of a professional body (hello SfEP!), business cards, website and domain name, at least one conference a year and, importantly, health. She also recommended considering have business postcards printed too, as you can get so much more information on them.

But what of the cheapies and freebies? She suggested attending conferences and events in your specialist areas, even if you have limited budget. Alison said she’d benefited from scouring the Eventbrite platform, where you can find many events aimed at the business community that are free to attend, or cost a nominal amount. She noted that universities also put on free events. For me, this was the most useful takeaway and I’ve already committed myself to a weekly search on Eventbrite to find events that fit with my specialist subjects and will hopefully bring in more work.

After lunch, it was time for Nigel Harwood’s thought-provoking session on the ethics of proofreading for students. Using just one sentence extracted from a foreign student’s Master’s dissertation, he demonstrated how three different proofreaders – A, B and C – had approached the text. A, a professional, had corrected the English, while B, a tutor who helped students for free, had merely underlined the entire sentence to indicate the author needed to rework it. C (a PhD student who proofread for other students for a small fee), however, had also suggested ideas to expand the content of the dissertation. It was a textbook example, pardon the pun, of how boundaries can become blurred – a professional’s job should only ever be to clean up the English and not “tutor” the actual work.

Nigel and a small number of other academics have done research into proofreading for students, the output so far being mainly qualitative and anecdotal, but the results showed that standards vary wildly and, essay mills aside, ethical boundaries are crossed too often. His conclusion is that universities need to start working with professional bodies such as the SfEP to develop common standards and build pools of accredited freelance proofreaders who will be the only approved professionals that students will be permitted to work with. He noted that a tiny number of universities are already starting to do this.

Warning! Profanities approaching

I really wanted to go to the lightning talks in the Something for Everyone sessions – they are always entertaining and useful. But I couldn’t resist the lure of How the F**k do I style this? presented by editor Kia Thomas, who works with independent authors and has done a lot of research into how to style swearwords. To gales of laughter, she showed why you need to decide to hyphenate a compound swearword or insult or not – cockwomble good, cock-womble just plain wrong. And, a shit-ton is the correct way to style a large amount because, as she eloquently observed, Shitton looks like a hamlet in Somerset.

In this vein, there was much more to chortle at, but also a serious underlying note – that you will come across sweary stuff in novels, in either dialogue or first-person narrative, and consistency matters here as much as for any other words. Kia closed the session with a game. We split into pairs and Kia offered us two bags from which to take one word out of each. We then had to invent a sweary compound, decide if it was a noun or verb, whether to hyphenate or not and, lastly, to make a sentence with it. The next 10 minutes had us weeping with laughter as we shared our results.

After that, the session on how to get involved with the SfEP was never going to compete for sheer entertainment value, but this is one of the most important 45 minutes you could spend at conference any year. I was stunned at the sheer number of roles in the society that volunteers can take on. I have committed to helping draft a policy on disability and will certainly consider giving more time to the SfEP when I am not too busy.

And so to the gala dinner, kicked off in style, as always, by The Linnets, who this year performed a fabulous number titled The Editor’s Psalm. There was also an enjoyable after-dinner speech by Sam Leith, literary editor of The Spectator. And wine. Plenty of wine. Despite that, I managed to get up in time on Monday for coffee, before heading for that day’s sessions…

Having taken so much useful stuff on board over two packed days, I came home brimming with ideas and have already decided that I will be at year’s next conference, no matter what.

Louise BolotinLouise Bolotin is a journalist and sub-editor, who works chiefly for the press. Away from the media, she specialises in copy-editing all kinds of finance and business topics, with a sideline in editing memoirs and erotica for self-publishers. When not at her desk, she can usually be found dancing in a moshpit somewhere. She is an Advanced Professional Member of SfEP. Follow her on Twitter.

 

This year’s SfEP conference was held at the University of Lancaster, 8-10 September. The 2019 conference will start on Saturday 14 September at Aston University, Birmingham.

 

Posted by Abi Saffrey, SfEP blog coordinator.

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

Wise owls: expect the unexpected

After an unusual British summer, the SfEP wise owls share their tips for expecting the unexpected – what kind of planning can a freelance editor or proofreader do to lessen the impact of illness, bereavement or other life events on their business and clients?

Ceramic owl on wet stone

Hazel Bird

Hazel BirdThere’s often a perception that being freelance means a life free of impositions by other people, and there are certainly elements of truth to that. It’s also true that many clients will be warmly understanding when unavoidable circumstances mean a deadline becomes tenuous. But the cold, hard reality is that sometimes a deadline just cannot be shifted. Sometimes the push might come from the client (they may have financial and scheduling commitments that mean your lateness will create havoc for them) but sometimes the push to knuckle down and hit the deadline no matter what can come from you (if, for example, getting behind on your current project would have an unmanageable knock-on effect on your scheduling of other future projects). The result is often that a freelancer will find themselves working when they really, really wish they didn’t have to.

There’s no magical solution when you find yourself in this situation. Obviously the first step is to talk to your client and find out whether there’s any leeway in the deadline (even a day or two may make all the difference) or whether, for example, you might be able to deliver the work in stages. If you then feel the work will be manageable, get it done while taking as much care of yourself as possible, perhaps varying your usual hours around when you feel more able to focus. Shutting down your email and giving yourself a break from ongoing non-urgent commitments (work and non-work) are other possibilities that might help. And, if you can, look ahead to your future projects and see whether they can be moved around to give you some recuperation time once you’ve finished your current task.

In some circumstances, though, no matter what you do, you won’t be able to hit the deadline your client needs. When this happens, one possibility, if your arrangement with your client allows, may be to subcontract the work to another freelancer whose work you trust. However, if that’s not possible (or desirable), the most important thing you can do for the sake of your relationship with your client is to let them know as soon as possible that you won’t be able to meet the deadline. Few things are more damaging to a business relationship than failing to keep the other party informed about circumstances that might affect their ability to manage their schedules and stakeholders. What happens after you’ve told your client will vary widely between clients, and of course the worst-case scenario is that you end up losing the current project or even future work. Sometimes this is just an inevitable part of being freelance: we’re only human and we don’t have bottomless resources. However, in my experience at least (both as the freelancer and as the client), when circumstances that are truly beyond the freelancer’s control are handled with professionalism and good communication, there is rarely a major loss of future work.

Liz Jones

Liz Jones

Needing to take time off work for illness can be tough for freelancers, and I admit it’s something I haven’t got quite right yet myself! Along with everyone else in the UK, earlier this year I had the winter lurgy and, while I was able to scale back my workload so I could rest, I didn’t feel able to take time off completely. Clients would most likely have been sympathetic, but putting off too much work would only have affected projects scheduled in afterwards, which I didn’t want to have to send elsewhere. I battled through it all, but it wasn’t easy at times. So based on my recent experience, which I didn’t handle perfectly, here are a few tips for mitigating the problem, if not entirely solving it.

  1. If some deadlines can be extended, negotiate this with clients as early as possible. They will usually be sympathetic, even if they can’t give you much extra time.
  2. Don’t try to push on with work if you’re feeling too ill – it won’t be of a high standard. Take a break, or a nap, and come back to it when you’re fresher.
  3. Even if work can’t grind to a halt, ask for and accept help in other areas of life to ease the pressure.
  4. With all projects, try to allow some contingency in the schedule. This helps if things don’t come at expected times, too.
  5. Stay vigilant when it comes to rates. It’s difficult to take any time off if you’re only just covering your costs at the best of times.
  6. Seek the support of colleagues. Freelancing is always demanding, and working through illness is just another aspect of this. A little sympathy can go a long way.

Abi Saffrey

Abi SaffreyI think there are two aspects to dealing with the unexpected: preparing for it, and dealing with it when it happens. Wise financial gurus tell us we should have three months’ income stashed away to cover our expenses if we’re not earning; there are income protection insurance policies that pay out when we can’t work due to illness and injury; the government pays Employment and Support Allowance if an illness or disability affects our ability to work (though if we have stashed away that three months’ income, we may not be entitled).

As well as thinking about the financial aspect of the unexpected, there’s the practical aspects of running a business too – who is going to contact clients if we are unable to? A great suggestion on the SfEP forums a couple of years ago about a disaster plan was turned into a blog post; knowing that everything is in order will mean one less thing to worry about if faced with long-term or terminal illness.

Even an absence of a few days has implications – good relationships with clients are going to be essential when asking for a deadline extension or having to return a project unfinished. The temptation is always there just to keep on going, but sometimes it’s best to be realistic, bite the bullet, take however many days off, and then come back ready for action. Working when unwell or grieving may do more damage – to our work and our health – than good.

Of course, this is all easier said than done – I need to get my disaster plan back to the top of my to-do list!

Sue Littleford

Sue LittlefordFreelancers with corporate experience may have come across disaster recovery planning before, and it’s something you need to take on in your own business – ideally ahead of needing to call on it! Think about all the ways you can come a cropper, and make plans. You may want to investigate income protection insurance and personal accident cover (as well as professional indemnity insurance, in case you blunder because you’re not on top form) so that if you’re unable to work because of ill health, you still have some income.

Your plans will vary according to the type of work you do. I work at book length almost all the time, so I build in wiggle room for my migraines and other contingencies (I usually allow at least four contingency days per project). If you’re whipping through short articles on a tight timescale, that’s harder to deal with, but it does mean you shouldn’t fill all your time with scheduled work – you need wiggle room, too, for everything from a bad cold to a broken computer.

If you can’t spend your time working – a child’s sick, you’ve broken your arm, you’ve been bereaved – then the first thing to do is NOT to pretend it’s not happening, but to communicate about it. Assess whether you’re safe to carry on working in terms of how well you’re still able to concentrate as well as perform physically, and how long you’re likely to be off work. Look at which of your clients are affected and contact them. They may be able to extend the deadline or split a big job with another of their freelances.

Organised freelancers have a buddy system, with a number of trusted colleagues they can refer work to, or who can pick up the pieces. One of the definitions of being a freelancer in the eyes of HMRC is that you can subcontract, so don’t be shy about doing it. But do, again, communicate with your client. And accept that you may lose a job that you can’t finish or can’t start on time – some things just can’t be fixed or worked around.

If you’re hospitalised, then you’ll need someone who can access your computer and contact your clients, perhaps sending them as much work as you’ve done so far. Ruth Thaler-Carter has updated her good piece on the An American Editor blog on planning for and dealing with the worst, which will give you plenty of food for thought, as will Laura Ripper and Luke Finley’s post (mentioned by Abi above). If your ill health is likely to be of some duration, or to impact your ability to work long term, you should explore whether you qualify for Employment and Support Allowance (ESA) with the DWP.

Sometimes, though, the work simply can’t be done in time, so take a look at your contract now to make sure it covers clearly what happens in such cases, and doesn’t allow a corporate client to shift all their risk onto your shoulders. If you’ve taken any part of your fee upfront, how much of it do you refund? What happens to the work you’ve already done, if you’ve begun?

Mostly (judging by a quick poll of the Owls), it’s just a matter of gritting your teeth, propping your eyelids open, taking the painkillers or cold remedy and working long hours to catch up as soon as you’re able. Powering through is grim, but that may be your only solution.

Sue Browning

Sue BrowningThe first step is to recognise that when you are in the midst of a crisis you’re probably in no fit state to work, even if you can put in place arrangements to do so. Don’t try to struggle through. You won’t do your best work and, worse, you’ll do yourself no favours. Above all, look after yourself. It’s never going to be easy, but there are a few things you can do to prepare for a time when you need to put business concerns to one side for a while.

Preparation

You have to accept that you are likely to lose some business, even if it is just for the duration of your absence, but this will be a lot less stressful if you’ve got a buffer of money put aside. I aim to have about two months’ income in a savings account. I know that can be difficult, but start now, and save little and often. I know freelancers can get insurance to cover times when they can’t work, but policies are costly, you pay for their admin, and you don’t get it back if you don’t claim, which is money wasted. Besides, who needs the additional hassle of putting in an insurance claim? (Caveat: this is my opinion, specific to my circumstances, not financial advice! Your personal circumstances will be different and insurance might be a good option for you.)

Ask someone to be your designated actor (DA) and brief them as thoroughly as you can. In particular, tell them how to navigate your email and file system and find out what projects you are currently working on so they can contact your clients if you can’t. If you don’t already have a system that makes that information easily available (spreadsheet, Word doc –  mine’s a mind map), do that now, and keep it up to date. Your business will benefit from this overview, whether you need to use it as part of a contingency plan or not. I’m currently developing a file for my DA that contains information about where to find stuff and any necessary passwords, along with a prepared out-of-office email message and template messages for different clients. Whatever form this takes, it’s worth walking your DA through it if you can, and make sure they are clear on what they are expected to do, and not do.

I haven’t set up any contingency plans to have another editor take over my work. That’s my choice, with my particular customers. Again, your mileage may vary.

When crisis strikes

If you have time, tell your clients what is happening, starting with those who are expecting work from you and those who have already booked you in advance. You don’t need to go into details, just share as much as you feel comfortable with. In my experience, most people are understanding and supportive (one of my customers sent me flowers when my mum died) and will be there when you are ready to get back down to work again.

Again, if you have time, set up your email autoresponder so that incoming messages get a reply that tells them you will be out of action for a while. Then ignore your email. Don’t even look at it.

It’s trickier if your email client doesn’t have an autoresponse option, as I’m not comfortable with my incoming messages getting no reply at all, however cursory. It may therefore be worth monitoring your mail, say once every two days, if you have the capacity to do so. Set up some ‘out of office’ autotext (e.g. using TextExpander or PhraseExpress) so that with little effort on your part, messages at least receive a reply, but don’t be tempted to enter into a conversation – this is just so that you don’t seem rude.

If you can’t do these actions yourself, now’s the time to activate your DA. Have them alert your current and planned clients and set up your autoresponder or monitor your inbox and reply briefly on your behalf.

On your return

When you’re ready to take up the reins again, do take it easy at first. Some personal crises change your life forever, so don’t expect to be your usual self immediately, if ever. Be kind to yourself and be realistic about what you can achieve.

Contact any regular clients and let them know you are back and ready to receive work. Then work your way through any emails that have accumulated in your absence. Triage them quickly, without much thought, into messages that are worth following up and stuff that can be deleted. Delete a lot. The last thing you want is to clutter your inbox and your mind with might-have-beens. Other opportunities will come up. Trust me. That said, if an interesting offer has come in but you missed out, there’s no harm in a quick reply along the lines of ‘Sorry I couldn’t help you this time but I’d certainly be interested in any future projects.’

Don’t take on too much too quickly. Depending on the reason for your absence, and how long it was, you may find you tire more quickly or that concentration takes a while to come back. Listen to your body and mind, and adapt accordingly. You will find a way back… on your own terms.

 

Posted by Abi Saffrey, SfEP blog coordinator.

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

Round-up of blogs published by SfEP members

Many SfEP members share valuable professional advice in their personal blogs. We have collated our favourite recent blog posts below, covering a range of topics, including setting business goals for the new year, and advice on self-publishing, writing and social media.

If you currently publish a blog on your business website and would like to contribute to a future round-up, please contact our blog coordinator, Tracey Roberts.

The long haul by Liz Jones

A year in review and looking ahead by Katherine Trail

End of year reflections of an editor and writer by Sara Donaldson

2017: an end of year review by Liz Brown

Forget the resolutions – 5 New Year practices for proofreaders and copy editors to help the working day go with a swing by Alexa Tewkesbury

Why editors are like actors by Melanie Thompson

What should I write in my first blog post? By Liz Dexter

Consistency matters in business writing: developing an individual style guide by Howard Walwyn

On the basics: so you want to be a blogger? By Ruth E. Thaler-Carter (An American Editor)

Process flow for a manuscript by Kate Haigh

LinkedIn: how to improve engagement in 2018 by John Espirian

Preparing for self-publishing: how to get started by Catherine Dunn

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

Upgrading your SfEP membership: Advanced Professional

If upgrading your SfEP membership is a career goal for 2018, it can be daunting to begin the application procedure. But members who have successfully upgraded their membership can be a source of valuable advice on how to prepare your application.

To help, the blog team will be publishing a series of posts on applying to upgrade your membership, beginning with advice on achieving Advanced Professional Membership.

Toby Selwyn

My overriding impression of the upgrade process was how incredibly easy it was. In part this was because I had upgraded to Professional Membership around eighteen months before; since the information I provided for that application was transferred directly to this one, there was no need to resupply it. The online system is easy to use, mostly very intuitive, and inputting the new information took less than an hour.

The one unintuitive element of the process was how to indicate that my Professional application needed to be carried forward, as there is no obvious place to include its reference number as requested. An email to the office resolved that quickly, but it would be useful if it could be made clearer within the system itself.

In terms of building up the upgrade requirements, my only concern was the 100 hours of work that need to have been completed with a client for them to be allowed as a referee. As a fiction editor, I work primarily with independent authors, usually on one-off projects; within the last two years, I have only gained 100 hours’ work with one author. Fortunately, I did have enough experience with my few publisher clients to make up for it, but this requirement could be problematic for editors who specialise in working with indies.

Overall, the process was straightforward, and the office staff were very quick to help when needed. I would strongly advise anyone considering upgrading to go for it.

Catherine Hanley

To be honest, I’d always thought of Advanced Professional Membership as some kind of semi-mythical grade that wasn’t for the likes of me. But, I thought, have I reached the stage where I could at least check the requirements?

I’m glad I did: now I knew exactly what I needed to do, and that I wasn’t as far off as I’d feared. And I was reminded that perhaps I hadn’t been quite as assiduous as I could have been in keeping my CPD up to date and in logging all the hours I’d spent on each job. Sure, I’d done some training courses, but how many of them were recent? And yes, of course I’d been sending out invoices, but had I kept a separate record of the hours worked? Ah.

I went back through every filed invoice and every job I’d done professionally, dividing them into ‘work for publishers’ and ‘work for non-publishers’, then started a spreadsheet to log the invoice date, the client and the hours worked. Bingo: I knew I’d done a lot of work over the years, and it turned out I had enough experience. I was then able to email contacts at regular clients with exact figures on the work I’d done for them over the years – would they mind being a referee? They agreed.

Next, training. Not enough in the last three years, but now I knew where the gaps in my work experience were, I could find a relevant course. Living as I do in the middle of nowhere, the variety of online choices was a godsend. I confess I started off with upgrade points in mind, but the course I chose was one I should have done anyway, so I’m glad I had the incentive – and I picked up a number of tips and techniques that have been very helpful in subsequent work.

Finally, after several months, the online SfEP upgrade form. There it was. But it was laid out very logically, and with the correct information to hand, it was easier than I expected to fill in. I was delighted when I was informed that my upgrade had been successful. Tea and new business cards to celebrate!

If I had any tips, they would be: organise your record keeping as you go along, so you don’t have to spend time checking back through everything. Oh, and keep your training up to date, whether you’re applying for an upgrade or not!

Michelle McFadden

I did it. Finally. And it only took me about ten years.

I had been an Entry-Level Member (previously an Associate) of SfEP since the late noughties and my incomplete PTC Basic Proofreading course had been around for almost as long. I would start work on it and then other things would intrude: good things like parenting, holidays and work. I have interspersed freelance work with challenging in-house positions that provided training, structure and collegial feedback. The motivation to finish the course diminished as time went on.

In-house work and freelance editorial project management provided me with all of the hours of experience that I needed to upgrade. The truth is that my in-house training may have been enough for my upgrade application, but I’m too stubborn to have even investigated that possibility.

With the encouragement of my edibuddy accountability group, I finally completed the PTC course to give me those all-important training points. I procrastinated when it came to completing my upgrade application form, but I shouldn’t have; it was easy and straightforward and took a surprisingly short amount of time.

So now I have the assurance that my years of experience are now complemented by SfEP Advanced Professional status (which can only improve my position when pitching to clients). As the organisation moves towards chartership, I believe that will become increasingly important. I haven’t had my directory entry long enough to have experienced an increase in client approaches, but I do have a deep sense of satisfaction that something that has been on my to-do list for a very long time has now been achieved. And that feels good.

Hugh Jackson

Over my two and a half years as a member of the SfEP, I’ve now done the full circuit of the four main membership grades, and thus done the upgrade procedure three times. My latest upgrade was in June 2017 to Advanced Professional Membership, giving me a shiny gold badge on my directory entry and an @sfep.net email address.

Upgrading is so much easier with careful record-keeping. Right from the start I’ve kept a spreadsheet of everything I edit, even the tiniest project. As well as being invaluable for performance reviews and marketing, this record made the process much easier. My records told me to the minute how much relevant experience I had for each membership grade, along with the dates and lengths of each project and whether they were copy-editing or proofreading, all things that are necessary for the experience section of the upgrade form. Because it was all there, I simply deleted unnecessary columns and uploaded the spreadsheet with my upgrade form.

I also had PDF copies of CPD certificates saved on my computer that I could upload for the training requirement, and I asked my favourite clients whether they’d be able to give a reference (as one referee was a non-publisher, I also had to do the Basic Editorial Test).

The process is really straightforward and far quicker than expected: mine took just three days from application to approval. When I had a question (whether a reference from a previous update could be used for this one – it can), the office staff were quick and helpful as always. Remember, if you’ve upgraded in the past, you’ll have been emailed a copy of your last upgrade application, so you can copy bits from that.

John Espirian

I suspect most people who are asked about upgrading to Advanced Professional Membership will say the same thing:

“I wish I’d done it sooner.”

“The process was much easier than I thought it would be.”

“Don’t delay.”

All of the above are true for me. I delayed my upgrade attempt for well over a year, always putting it off with thoughts about not having enough upgrade points or not having enough time to get through pages and pages of the application process.

Eventually, I decided to sit down one afternoon to draw together all of the sources that would contribute to my upgrade application and then to make a start on the upgrade form. I thought if I could put in a couple of hours, that would at least break the ice and I’d be more likely to get the whole thing done sooner or later.

Needless to say, I was kicking myself when after a couple of hours I’d done all the data gathering AND completed the upgrade form in its entirety. It was all so quick that I had to double-check that I hadn’t missed something major. Why hadn’t I done it earlier?

I was impressed at how efficient the office were in processing my application, and the good news about my APM status was confirmed within three weeks.

I’d encourage anyone on the fence about upgrading to set aside a few hours and get it done. It’s really not as scary as you might think.

A word about anonymity

To ensure complete fairness, all upgrades are completely anonymous. After being processed by the staff in the office to remove all identifying information, they are passed to the Admissions Panel, whose identities are also secret – not known even to Council members. In order to maintain this anonymity,  we ask you not to discuss your upgrade application in places where members of the Panel might see it. In practice this means on the forums, in local groups and on social media. We are of course always delighted to see members taking their professional development seriously, so by all means celebrate your success in those channels once it has been confirmed. We share your excitement and sense of achievement.

Wise owls: freelance business goals for 2018

This month, the SfEP wise owls share their tips for setting realistic goals that match your individual ambitions, and consider how small changes can have a big impact on your career in 2018.

Being motivated to set goals to boost your career in the new year can be difficult. Many feel compelled to set over-ambitious resolutions to make this THE year they achieve a high-flying freelance career, regardless of their personal circumstances or goals. If you are feeling overwhelmed by the expectation of planning for the new year, don’t worry, the SfEP parliament is here to help.

Sue Browning

Sue Browning

Around the turn of any new year there’s always a plethora of advice on reviewing the year just past and setting goals for a brave new you in the year to come. And it’s always good to take stock and review what worked for you and what didn’t, what you enjoyed and would like to do more of, and what you never want to do again. It’s also good to review your fees, check out software and other tools, and look over your processes and see if they can be streamlined.

I’m going to say something heretical now. I’m not much of a one for setting goals and, with a few exceptions (CPD, holidays), I don’t make hard plans. Instead I try to make incremental changes in my behaviour that work towards increasing my overall efficiency and enjoyment of my job and life as a whole. The thing with incremental changes is that they are achievable and sustainable; the ambitious goals one tends to set under the influence of inspirational advice quite often turn out to be neither of these.

So why not resolve to learn some (more) keyboard short cuts – not just for Word, but for Windows/OS, your email client, Acrobat/PDF-XChange. Start with maybe one or two of the commands you use most frequently, learn or make short cuts and use them until they become second nature, then learn another one or two. Do the same with Find & Replace commands and maybe macros. Start simple and work up. If you do this regularly, you will soon accumulate a good arsenal of tools and techniques, you’ll be more efficient and your mouse-clicking finger will thank you.

Many of us will have just paid our tax bill, so it’s also a good time to start planning for the next one. If you can, consider setting a percentage of your earnings aside every month so next January (or July, if you’re in that bracket) isn’t such a worry. Put it in a high-interest account and try to forget about it. If you can afford it, also put some money aside longer term, to help tide you over those times when you are ill, or even as something for your retirement.

Hazel Bird

Hazel Bird

My suggestion for setting New Year business goals is to make this an opportunity to really focus on the one, two or perhaps three things you want to do with your business this year, or maybe improve on from last year. It’s all too tempting to look at all the interesting courses, self-development and business development ideas out there and want to do all of them. However, by spending some time thinking about what you want your business to look like by Christmas 2018, drilling down to find the key actions that are most likely to get you there, and then making sure you actually have time to carry out those actions, you’ll be more likely to see some real results from your efforts.

 

 Abi Saffrey

Abi Saffrey

Setting goals when you run your own business can be harder than doing it as an employee – there isn’t anyone else looking at the bigger picture for you. You’re the strategist, the business development manager, the marketing master, the holder of the purse strings and the person who has to make the results happen.

Whatever goals you set, consider how you are going to achieve them, by when and, just as importantly, why you want to achieve them. The hardest goals to meet will be the ones that are there just for the sake of having goals.

Break goals down into what you need to do to achieve them: your income won’t rise, your costs won’t fall, your skills won’t stay relevant, you won’t have a new service to market if you sit around waiting for some magical, mystical external force to make it happen.

Whatever goals and actions you decide on, there should be some training or CPD in there – it might be to learn a new skill, refresh or improve an existing one, or deepen relevant knowledge. You don’t know what you don’t know, and even training that revisits what you already know will keep you and your business on track.

Review your progress against your goals regularly – put reminders in your diary – and it’s okay to revise them, add to them or get rid of them if you realise they aren’t working for you or your priorities change. Keep records on progress or changes so that you can monitor your actions and decisions – and it’ll help you to keep the things out of your next set of goals that, it turned out, gave you nightmares.

Sue Littleford

Sue Littleford

Starting the year with a blank sheet of paper for your business new-year resolutions can be a bit daunting, but don’t overwhelm yourself with an impossible wishlist, or the feeling that this year you Must Be Perfect. Who needs that stress? Just aim to be better in some areas.

Review your financial records and decide on a training and development budget and an income goal, and think about what training you want to undertake. What do you need to upgrade? What do you need to fill in gaps in your knowledge or to consolidate what you already know and boost your confidence? What do you need to keep abreast of new developments in publishing or to add a new service to your offering? Must it be paid-for training with a certificate at the end, or are there YouTube tutorials you can do? Can you afford it this year, or can you at least save some money towards it, and do the training in 2019?

Think carefully about timing for best results. If you’re looking to expand your client base and one of your selling points is that you’re available throughout the summer, start cold-calling/writing two or three months before the main holiday period when many clients are wondering how they’re going to cope with their freelances taking time off.

Are there any clients you need to fire, who pay too little, or are more trouble than they’re worth? Make time to find and work for new, better clients.

Do you want to engage more fully with the SfEP? Do you have the capacity to volunteer? Or do you want to go to your local group meetings consistently? Perhaps your resolution will be to read all the SfEP emails and see what the Society is hoping its members will help with.

Maybe you have a hitlist of little niggles – procedures you want to nail down, documentation and templates you want to develop, a Word hack you want to find. Log them and tackle them.

Scatter your resolutions through the year – don’t try to start everything at once. And put review points in your diary when you’ll evaluate how much you’ve already achieved and decide the next steps. Resolutions are for life, not just for January.

John Espirian

For those new to the editorial profession, the best place to start is by taking good quality training. Without this, most people will lack the skill and confidence to do a good job for their clients. Thorough training should be a minimum requirement – so put that top of your agenda if you’re just starting out.

My goals for business success in 2018 are based on improving my marketing so that I can be better known in my space. That means continuing to post relevant and helpful content on my blog and looking for opportunities to enhance my profile via other streams.

One method I like is to appear as a guest on podcasts, as this is a quick and easy way to introduce yourself to new audiences. I’m aiming to make it on to 10 podcasts this year.

I’ve also decided to dedicate a little more time to in-person networking, so will be attending three conferences in 2018, including the SfEP’s annual conference at Lancaster University in September.

Liz Jones

I find it helps to have a clear understanding of where I’m at to see where I want to take things in the future. It’s worth spending some time analysing your business to find the answers to questions like ‘where does my income come from?’ (by client and by sector), ‘which clients pay best?’ (and worst) and ‘what do I spend most of my time doing?’. I did this last year, and the answers were illuminating – and in some cases quite surprising. Finding out what was really happening in my business enabled me to make some big decisions about who I wanted to keep working with, who I didn’t, and the type of work I wanted to spend most of my time doing. As a result I’ve streamlined the types of work I take on, but increased my income, and have also found time for creative pursuits on the side. Without taking the time to understand at a very detailed level what was happening in my business, I might not have felt able to make such changes for the better.

 

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

Wise owls on editing non-fiction

Non-fiction covers a vast array of topics, including music, psychology, architecture, science, and memoirs, and new editors may find learning and following the conventions of non-fiction daunting. Editors will be asked to work with authors who are experts in their chosen field, and you will need to (tactfully!) help them bring structure to their work as they share their extensive knowledge with their audience.

This month, the SfEP parliament of wise owls share their experience of editing non-fiction, including tips on references and style guides, and working efficiently to meet clients’ needs for consistency within an often limited budget.

Sue LittlefordSue Littleford

Learn to love references, in all their multifarious glory. I get great satisfaction from making a clean and orderly references list from the dog’s breakfast I was handed. I edit a lot of academic tomes in HSS (humanities and social sciences) and have long realised that there are almost as many variations of Harvard as there are authors.

This is why it’s important to get a clear brief from your client. The publishers I work for vary greatly in how closely they want references to adhere to house style. Indeed, some are becoming more relaxed about it over time, often settling for ‘apply author’s style consistently’. If you are to avoid wasting a lot of time, do talk to your client about how much of your effort they want spent on changing the style of references.

One trick I’ve recently adopted is to make my own sample list of references for each of the variants in the job in hand (such as book, chapter, article, website, grey literature and archive – and some of those will have print and online variants, too). This is particularly helpful if I’m working with the short-title system, where a reference will look a little different in the note and in the bibliography, so my own note of the same reference in both presentations is an efficient way of checking I’m applying the correct version of the style in the right place – far easier than flipping through the pages of a style guide.

Liz Jones

It can seem that editing non-fiction is more bound by conventions, formats and rules than fiction. Whether you think that makes the task easier or harder is all down to personal preference! Often a non-fiction client will supply a style sheet, and even if they don’t they might indicate an established style guide that they’d like you to follow. In this way it can be quite different from editing a piece of fiction, which is much more likely to follow its own internal logic. Remember that the author’s voice can be just as distinctive and important to a piece of non-fiction – they’re still telling a story, even if it’s rooted in fact – so there’s a need to be sensitive and to think hard about what to retain as well as what to change. You might require a certain amount of tact to negotiate changes with the author to help their work conform to the required style, without applying rules slavishly and arbitrarily. Finally, non-fiction is often quite clearly structured, and this can be really helpful to the editor. Tweaking text to better fit the structural patterns that run through it can be immensely satisfying, and might make all the difference to a piece of writing – transforming it into a polished and coherent document that’s ready to be sent out into the world.

Abi SaffreyAbi Saffrey

Whenever I tell someone what I do, pretty much the first question they go on to ask is ‘What do you edit? Fiction?’ When I say that I work in non-fiction – generally economics and social policy – there is slight dismay in their faces. Fiction is the glamorous face of publishing, and non-fiction is seen as its frumpy but reliable best friend.

It’s fulfilling when my knowledge overlaps with the content I’m editing, and I can ask informed questions and add substantial value. When it’s a subject area I haven’t worked in before, I’m exhilarated by learning new things and I’m often prompted to go and read something related for pleasure.

Just as with fiction, it is critical to keep the author’s voice (or brand voice) intact and use a delicate touch to enhance the content rather than interfere with a heavy hand. Non-fiction brings with it tables, charts, diagrams and the mighty references list – they may appear intimidating at first sight but all they need is to be handled gently but authoritatively.

Non-fiction has been my bread and butter for over 17 years and I still get excited when a new project pops into my inbox – who knows what joys (and possibly terrors) those documents hold?

Sue BrowningSue Browning

In my experience, non-fiction publishers rarely have generous budgets, so one of the arts of making a decent living out of it is to master the various tools that can make you more efficient. These include the features available in Word, in particular keyboard shortcuts, wildcard Find & Replace and macros. Many of mine are home-grown, but I also plunder Paul Beverley’s magnificent and generous Macros for Editors. It’s also worth exploring the various add-ins you can get. I regard PerfectIt as an essential, and I also have Reference Checker (sadly no longer supported), both of which save a lot of time and help you produce a more consistent result – something that non-fiction publishers tend to be especially concerned about.

So once the mechanical style aspects have been tidied up and the references thrashed into submission, I can get down to the fun part – engaging with the content and the author. Here I particularly love the challenge of phrasing queries collaboratively (‘Perhaps we could…’, ‘Do you think x would be clearer?’) and sometimes catching the odd boo-boo, usually to the author’s heartfelt gratitude. But oh, the angst of querying a missing ‘not’ – have I completely misunderstood? will the author think I’m dumb?

Editing non-fiction can sometimes be challenging and frustrating, but it also brings the pleasure of working with subject experts and contributing to the spread of knowledge in a small but, I would argue, essential way.

 

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

Wise owls on working with non-publishers

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

Margaret Hunter, Daisy Editorial

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

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

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

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

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

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

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

Abi Saffrey

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

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

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

Sue Browning

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

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

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

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

Margaret HunterAbi SaffreySue Browning

 

 

 

 

The parliament: Margaret Hunter, Abi Saffrey and Sue Browning

Why blog?

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

Increase website visibility

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

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

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

But I don’t have a business website…

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

Showcase your expertise

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

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

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

Develop new skills

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

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

Start new conversations

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

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

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

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

A word of warning

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

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

Share knowledge and experience and engage with your community

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

Sue Browning

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

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

SfEP blog round-up May 2017

In case you missed them, here are some of the brilliant members’ blogs published in May 2017. If you regularly publish a blog and would like your posts included in future blog round-ups please get in touch.

Our Scottish mini-conference at the beginning of May provoked a number of interesting blogs from attendees. Here they are all gathered in one place.

The SfEP Scottish mini-conference: a summary by Denise Cowle

Conference capers by Sara Donaldson

My top takeaways from the 2017 SfEP Scottish mini-conference by Jill Broom

Other interesting blogs from members last month:

A day in the life of a freelance copy-editor and editorial project manager by Hazel Bird

Freelancer FAQs by Karen White

What is good writing? by Liz Jones

You asked; I answered: How do I become a freelance proofreader? By Louise Harnby

How to query like a superhero – 5 tips for new fiction copyeditors and proofreaders by Louise Harnby

Thinking fiction: The novel-editing roadmap I and Thinking fiction: The novel-editing roadmap II by Carolyn Haley (published by An American Editor).

OSCOLA Back to basics: Footnote shortcuts by Liz Brown

Making the most of the QAT by Hilary Cadman

Collated by Tracey Roberts, SfEP blog coordinator

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