Tag Archives: specialism

Compiling style guides for Christian publishers

Specialist organisations may require style guides that are tailored to their material. Editors Mary Davis and Fiona Little describe their experiences of compiling style guides to suit the needs of two clients publishing for the Christian market – but the principles are relevant for other subject areas.

Mary Davis: Tulips, chocolate and CPD

Near the start of my freelancing journey, I was asked to copyedit an 11,000-word manuscript by a small, independent religious publisher. Their little production team lacked specialist knowledge but were doing their best to produce quality non-fiction books for their relatively niche target market.

Their house style extended to a few bullet points on a side of A4, requesting that authors follow the Society of Biblical Literature’s SBL Handbook of Style and giving a few pointers on preferred formatting, footnotes, numbering systems and so on.

As I raised author queries and produced style sheets, it became clear to the client that there were significant inconsistencies across their publications. They asked me to do a critique of several books, and I produced a short report looking at design, formatting and style choices. There was a clear need for consistency and one of my main recommendations was the production of a more comprehensive style guide.

How did you go about it?

Soon after, the flu struck and I was in bed for days. I certainly didn’t have the energy for a meticulous copyedit or proofread, but I did have the appetite for a bit of informal continuing professional development (CPD)! I knew the client had a low budget and I decided to produce a style guide for them free of charge. I’d developed a good understanding of their authors and target readership, and my style sheets provided much of the detail. Consulting style guides from other clients and online resources, I focused particularly on presentation, which I felt would be key in encouraging authors to use it.

What did you include?

In consultation with the client, it didn’t take long to compile the finished guide – a carefully designed, six-page PDF.

  • Standard features: It included the things you’d expect, such as a general introduction, notes on abbreviations and contractions, UK spellings, preferred punctuation, numbers, dates and times, and book and hymn titles.
  • Emphasis on clarity: The writing style of some of the authors I had already copyedited was unnecessarily complicated and so the guide included an emphasis on clarity and plain English.
  • Interactive links: To make it user-friendly and easy to navigate, I included internal clickable links and external hyperlinks to resources like the SBL Handbook of Style and preferred dictionary.
  • Clear presentation: Aesthetically, I took great care with the layout, heading size and examples of correct usage, ensuring that authors would find it visually appealing and easy to use.
  • Personalised features: Working from my style sheets, I compiled a list of commonly used words, indicating preferred capitalisation and spelling. I also specified preferred formatting for Bible references and Bible ‘shortforms’ (abbreviations for each book of the Bible), as authors had been simply adopting their own preferred convention.
  • Ongoing: To facilitate updates, I supplied the client with a Word document in addition to the PDF.

someone making notes from the Bible

What did the client think?

They sent me some tulips and chocolate in the post to say thank you! They also asked me to do some paid training with their publications manager, which I conducted online.

The guide is a number of years old now, but I asked the current publications manager to comment on its usefulness. She replied:

Our style guide has greatly benefited our publishing organisation. It provides clarity for authors who need to know what our expectations are and helps us to create a quality uniform product. From basic expectations (like grammar) to more niche requirements (like capitalisation of terminology), both our writers and editors appreciate the consistency that the style guide gives.

I didn’t get paid for this work but the six hours or so I spent on it was immensely worthwhile. Careful reading of a number of style guides was valuable in itself – and, on top of that, the project cultivated strong working relationships and resulted in a stream of ongoing work. They weren’t and aren’t my highest-paying clients – but, as well as tulips and chocolates, this project gave me confidence and specialist knowledge at a key stage in my career.

Mary’s top tips for compiling a specialist style sheet

  • Assess the material produced by the organisation and current authors’ writing styles. Does it match the client’s requirements?
  • Decide what standard features are required in the guide. Do you want to reference an existing guide or dictionary?
  • Working from style sheets and other sources, compile a list of commonly used words, noting preferred capitalisation and spelling.
  • What other guidance will be needed? The inconsistencies between publications will give you a steer on what may be required.
  • Take care over presentation, and include clear examples of correct usage. Internal links and external hyperlinks may be useful.

Fiona Little: Discussion and flexibility

When a client asked me to produce a style guide for an ongoing series of church reports, I welcomed the challenge. The client wanted to review the styles used in the existing reports and create a more comprehensive style guide that would ensure greater consistency in future reports in the series. Although the authors were theologians and clergy, the reports were intended to be available to lay people, so a style guide for academic theological writing might not be suitable. A tailored guide would help authors, editors and proofreaders working on the series.

Starting points

I was able to refer to previous reports in the series, all of which were in British English. The client had begun to draw up a list of preferred spellings, hyphenations, capitalisations and so on, and an author had added comments to it. There seemed to be omissions and contradictions, but the document gave me some idea of the priorities.

The main issues

Spelling

I found spelling inconsistencies not just in the existing reports but also in the client’s word list – for example, Oxford-style ‘-ize’ spellings seemed to be favoured for most words, but ‘baptise’ was preferred over ‘baptize’. After some discussion, the client decided to standardise on ‘-ize’, and we chose the New Oxford Dictionary for Writers and Editors (NODWE) as a default guide.

Punctuation

We also agreed on Oxford style (as described in New Hart’s Rules) for dates, serial commas, dashes and other aspects of punctuation. The style guide would need to outline these.

Capitalisation

Capitalisation was the biggest issue. We agreed easily on initial capitals for specific meanings as opposed to general ones (eg ‘the Father’ in reference to God); words with multiple senses needed particularly careful treatment – for example, ‘church’ was used, variously with and without capital C, for a building, a congregation, a Christian denomination (such as ‘the Church of England’) and Christian believers worldwide. The client opted for ‘the Bible’ but ‘a bible’, unlike NODWE, but followed NODWE in downcasing pronouns for God. The style guide would need to give clear examples of these usages.

References

While detailed bibliographical references were not covered, we agreed a format for references to other reports in the series, including their numbered sections.

For the frequent Bible references, the client wished to stick with the abbreviations for books of the Bible used in the New Revised Standard Version, along with a distinctive chapter-and-verse format used by a larger publisher. These choices seemed to work because their parameters were clear.

A style was also needed for the titles of documents in Latin; the client wanted italic with maximum capitals, even though normally a Latin title would have sentence-style capitalisation.

Numbers and dates

We agreed on maximum elision for number ranges (eg 341–2) and years (1988–9), following New Hart’s Rules, but we treated chapter and verse numbers in Bible references differently (see ‘References’ above).

Abbreviations

The reports used abbreviations for the names of various publications and organisations, and these needed to be listed in the style guide.

Because of the simple format of the reports, headings, lists and footnotes – among other features – were not covered.

The result

The completed style guide had short sections on all the categories highlighted above. The general reference to NODWE made a long word list unnecessary, but I listed recurrent words and names where the chosen style differed from NODWE.

Fiona’s top tips for compiling a specialist style sheet

  • Look carefully at the material to get a sense of the content, presentation, tone and intended readership.
  • Discuss the client’s preferences with them, and if their ideas appear unfeasible or inconsistent, explain the alternative options as straightforwardly as possible.
  • Consider whether a published style guide (eg Chicago Manual of Style, New Hart’s Rules or the American Psychological Association (APA) style guide) would cover all or most of the requirements, but don’t assume that the client will be familiar with it.
  • You may also find ideas in publishers’ copyediting guidelines and specific copyediting briefs.
  • If you base your style guide on an existing one, set out any exceptions to its guidelines clearly.
  • Consider organising the guide by type of text (eg headings, book titles) – this can be easier to navigate than a list of formats (eg italic, maximum capitalisation).
  • A couple of well-chosen examples may be easier to follow than a lengthy explanation; for instance, maximum elision of page ranges can be shown with ‘301–2, 341–5, but 315–16’.

 

About Mary Davis

Mary DavisMary Davis’ first job was for someone who was obsessed with clear, beautifully written English. Her freelance work started soon after, alongside other jobs. It developed more formally when she undertook some training to check if her skills were fit for purpose – they were! Mary is an Advanced Professional Member of the CIEP and is delighted to be doing a job that never fails to put her head in a good place.

About Fiona Little

Fiona LittleFiona Little, an Advanced Professional Member of the CIEP, began her editing career with work on Grove music dictionaries and later copyedited material for the Oxford Dictionary of National Biography. Now based in Washington DC, USA, she copyedits academic texts mainly on music, history and religion.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: header image by Michael Morse on Pexels, someone taking notes from a Bible by Tima Miroshnichenko on Pexels.

Posted by Eleanor Smith, blog assistant.

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

Five tips for moving into a new editorial field

Are you looking for a new editorial challenge, or would you like to expand into a new area? Hazel Bird has changed the focus of her editorial business over the past few years and here she gives advice on how to enter a new field.

One of the best things about freelancing is that you have full freedom to evolve your business however you see fit. Sometimes this evolution will be leisurely – a new macro here, a new webinar there – whereas at other times you might want to grab your business by the footnotes and drag it bodily into a whole new paradigm.

Moving into a new field is one such potential business evolution, and it can be done slowly or at speed. I’ve had a go at both. After I started out in 2009, for several years I worked almost exclusively on academic content, but then over time I gradually accepted more and more work in other fields, such as a charity magazine and books on business and digital topics. But then, a few years ago, I decided I wanted to much more decisively pivot in the charity/business direction.

This post will recount some of my experiences and give suggestions on how to move into a new editorial field. Whether you do it circumspectly or more resolutely is up to you!

1 Use what you already know

The charity magazine I proofread during my slow evolution phase was the membership magazine of what is now the Royal Osteoporosis Society. I also sometimes proofread some of the charity’s materials aimed at practitioners in the field (researchers, doctors, radiographers, etc).

As a humanities graduate whose formal scientific education ended at age 16, I arguably wasn’t the best placed to work on such material. However, I was able to demonstrate familiarity with scientific concepts, terminology and editorial practices through the social sciences and psychiatry texts I’d ended up editing for my academic clients (which in itself demonstrates an earlier slow evolution, from humanities onto the edges of the sciences, albeit still within academia). I also had a strong personal interest in nutrition and fitness, which came in very handy when proofreading diet and exercise advice for people with osteoporosis.

The key thing is to know your limits. Had I been offered intensive scientific copyediting, I would definitely have turned it down. However, I felt quite confident proofreading expert-approved text – and in fact my relative ignorance sometimes came in useful by making it easier for me to see things from the perspective of the reader (potentially a person newly diagnosed with osteoporosis and with very little idea of what this meant).

2 Understand your role in the relationship

Sometimes moving fields means working with a whole different type of client. It’s therefore important to understand how clients in your new field will expect the business relationship to work.

For example, taking two extremes from my career, there are big differences between working with academic packagers and working with large non-profits. In the first case, the packager usually sets the terms and fees and establishes the standard of work required. They generally have a good understanding of how publishing works, and there often isn’t a great deal of client management needed beyond managing queries helpfully and submitting and chasing invoices.

In the second case, you’re much more in the driving seat. The client may have very stringent editorial standards. However, they may also have comparatively little practical experience working out how to actually achieve those standards. There is also more of a need to manage the relationship through onboarding, terms and conditions, and ongoing negotiation of fees.

Some of what’s expected you’ll only find out after you begin a working relationship with a specific client. However, the next tip may help you to get some clues about the field in general …

3 Know their world and speak their language

If you’re brand new or a relative outsider to the field you want to move into, there’s a world of nuance that you won’t understand (yet). You’ll need to learn all the specialist terminology – and then when and for which audiences it should be used (versus when the audience will deem it unhelpful jargon).

It can therefore be helpful to follow relevant people on social media – both practitioners (ie potential clients) and other editors who already work in your desired field. Pay attention to the words they use and how they talk about concepts. Read the kinds of publication you aspire to work on. And obviously you can pick up relevant books, attend webinars and industry conferences, and consider getting a new qualification or two. Once you start working in your new field, you might also want to add a bit of padding into your schedules where possible, to enable you to read around topics with which you’re less familiar.

Another crucial place where you need to know your potential clients’ world is in your marketing. This is one I’m still working on, but the point is to speak their language on social media and in your blog posts, quotes and so on, so that you’re identifying their pain points and showing how you can help.

tiles spelling 'time for change'

4 Be prepared to be flexible

Ideally, opportunities in your new field will arrive exactly when you have time for them. Naturally, though, sod’s law means your dream client is going to send you an enquiry for work needing to be done tomorrow when you’re already booked solid for the next four weeks.

So, what do you do? You might choose to do the extra hours, especially if the new work might turn into a long-term collaboration or the fee is especially enticing. Alternatively, you might turn down this particular offer but thenceforth be more proactive, using the fact that your ideal clients are finding you as a confidence-booster to encourage you to step back from some of your old clients to make space for new opportunities.

Or you might do a bit of both. The right option will depend on your circumstances and other commitments. If you choose to dial down your current workload, it’s obviously important to ensure you have enough cashflow to tide you over if the enquiries don’t come flooding in as quickly as you hope. You can also pick your timing for doing this carefully – for example, by embarking on a chunk of CPD or a big business development project so you’re not left twiddling your thumbs if work is sparse.

5 Remember that you don’t need to be overqualified, just qualified

As Harvard Business Review says: ‘It is important, of course, to have at least some of the skills a job requires up front. But nobody should limit themselves only to positions for which they are already overqualified.’ (The article is about employed positions but the ideas apply to freelancing too.)

It’s easy to hold yourself back from new opportunities, imagining that everyone else is ten times more qualified than you or has a career’s worth of relevant experience. Our old friend impostor syndrome can have much to answer for here too. So it can help to remember that you’re not (yet) looking to be the best in your new field – just competent enough to offer your clients a sound, professional service that you can build on in the future.


Whether you move into your new field cautiously or with a bang, I’d say that the overall theme here is flexibility. It’s about using what you know but being ready to adapt your approach and mindset to a whole new arena, without making assumptions. If you can do that responsively and with imagination, putting yourself in the shoes of your new client and their readership, you’re unlikely to go far wrong.

About Hazel Bird

Hazel BirdHazel works with non-fiction clients around the world to help them deliver some of their most prestigious publications in areas such as charity and peace work, digital and technology, and business and leadership. An editor since 2007, she aims to see the big picture while pinpointing every detail. She has been described as ‘superhuman’ and a ‘secret weapon’, but until Tony Stark comes calling she’s dedicating her superpowers to text-based endeavours.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: header image by Jan Huber on Unsplash, tiles spelling ‘time for change’ by Alexas_Fotos on Pixabay.

Posted by Eleanor Smith, blog assistant.

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

Specialist Q&A – science and natural history editing

Specialist Q&AOur editorial industry is made up of people carrying out a huge range of tasks across many different sectors. Although we are bound by common aims – to make text consistent, accurate and clear – our chosen areas of work can differ in fascinating ways.

Liz Drewitt is a freelance proofreader, copy-editor and writer. She has answered some questions on her main specialism: science and natural history editing.

  1. Briefly, what’s your work background?

I have a degree in zoology and a master’s in animal behaviour. After several years of volunteer conservation and survey work abroad, I worked for five years as a writer for a leading wildlife charity, writing and editing content for their website as well as marking and editing student projects and helping to run the charity’s social media channels.

  1. How long have you specialised in this particular kind of editorial work, and how did you get started?

I started my first part-time freelance work in 2012, and have been freelance full-time since 2013. My first few jobs involved writing and proofreading for a couple of clients I found through friends and other contacts – one is now my main client. As my experience and client list have grown I have been able to focus more on my specialism, mainly taking on science-related work.

  1. What specific knowledge, experience or qualifications do you need?

Although general editing and proofreading skills will get you a long way, a good knowledge of biology and of scientific concepts and terminology is important, particularly for more academic books, research papers and student theses. However, I also work on more general interest natural history books and magazines, so it’s also useful to know how to communicate science in an accessible way.

Some of the main issues I look out for are mistakes in Latin names and in the use of scientific terms, problems with referencing, and sometimes more serious factual errors – all things that could easily be missed if you’re not familiar with the subject.

  1. How do you go about finding work in this area?

I’ve found many of my clients through word of mouth – for example, by being passed on by friends who work in the wildlife world, some of whom have been writing books themselves. I’ve also approached publishers who specialise in my field, as well as offering my services to wildlife and conservation groups, and have taken on a few students via my website or through personal recommendations.

  1. What do you most enjoy about the work?

I’m passionate about my subject, so it’s a way of being paid to read my favourite books! I also love learning more about the natural world, and enjoy connecting with authors who are experts in their subject and have fascinating insights to share.

  1. What are the particular challenges?

My greatest challenge is usually reference lists – they can be fiddly and time-consuming to edit, though I do get a sense of satisfaction at getting them into shape.

  1. What’s the worst job you’ve had – and/or the best?

My most challenging jobs have usually involved long, detailed academic books, as these can be complex and sometimes a bit dry. Authors and students are often keen to make their writing sound ‘scientific’, but I have to help ensure it’s also readable.

BioBlitz butterflyOne of my favourite jobs is proofreading a quarterly magazine for a wildlife charity – it’s always inspiring to read about the conservation work they’re doing. I also love working on books where I get to learn something new. Field guides are particularly useful for brushing up on my species identification skills, and I recently got to copy-edit a book that combined nature with one of my other passions – art!

  1. What tips would you give to someone wanting to work in this field?

Taking a couple of courses with the SfEP and the Publishing Training Centre (PTC) is one of the best decisions I’ve made. It allowed me to improve not only my skills but also my confidence, and has helped me to make sure I’m doing my job to the best of my ability.

If you’re into a subject like science, I would recommend using any links you have with people you already know in the field – you never know who they might be able to pass you on to. And read, a lot – it never hurts to know as much as you can about the type of material you want to work on.

  1. What is the pay like – and are there any other perks?

I usually find that the pay from publishers works out on the low side, and I almost always get offered a flat rate regardless of the time the work actually takes. However, I do get to stock my shelves with a fantastic array of nature books!

  1. What other opportunities do you think editorial work in this area might lead to?

I’m keen to take on more writing work alongside the proofreading and editing, and have plans for a nature-related book of my own. Having seen things from an editor’s point of view, I will hopefully be in a better position to improve how I approach my own writing.

Liz DrewittLiz Drewitt is a Professional Member of the SfEP, specialising in proofreading and copy-editing natural history and science. She works on a range of material, from detailed species monographs to field guides, popular science books, magazines, reports and student theses. Liz has also written magazine articles and keeps a wildlife blog, and is an aspiring wildlife artist.

You can find Liz on her website at www.natureedit.com, on LinkedIn, or chatting about nature on Twitter.

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