Tag Archives: style

PerfectIt 4: an upgrade

With PerfectIt 4 now available, Dr Hilary Cadman, a long-time devotee of PerfectIt, reviews the updated program.

Daniel Heuman and the team at Intelligent Editing have heeded feedback from users and made this fabulous program even more impressive.

Simpler to start

PerfectIt has always been user-friendly, but now it is even more so, with an expanded Start panel. As soon as PerfectIt launches, it is immediately obvious which style is selected, and you can change it using the dropdown list in the Start panel rather than having to go to the ribbon. Also, with ‘Choose Checks’ upfront, it is quick and easy to see which tests are selected. Previously, if you deselected particular tests when running PerfectIt, it was easy to forget you’d done that, and then wonder why PerfectIt was missing things the next time you ran it (speaking from experience 😊).

Faster and cleaner

A major improvement from previous versions is the speed of PerfectIt 4. The initial step of assessing the document is impressively speedy, with it now taking only seconds for PerfectIt to complete its scan, even if your document is hundreds of pages long or contains lots of tables and data.

Another new feature of PerfectIt 4 that makes it faster is the function to fix errors. Whereas in previous versions the ‘Fix’ button sat to the right of the ‘Locations to check’ window, it now sits within that window, and each location to check has its own ‘Fix’ button. If you drag the task pane to make it wider, the ‘Locations to check’ window expands, making it easy to see each possible error in context. Thus, instead of having to click on a location, look at it in the document to see it in context and then return to the PerfectIt task pane to fix it, you can now work just within the task pane, saving time and effort.

Initially, I found that I was trying to click anywhere in the highlighted location to apply the fix, but once I realised that you need to have the cursor on the word ‘Fix’, it was fine. Activating the keyboard shortcuts (with F6) speeds up the process even more, because you can use one hand to move the mouse down the list and the other to click ‘F’ to apply a fix.

Also new are the little buttons near the top of the PerfectIt side bar that allow you to easily rerun the test that you’re in, or to open the whole list of tests and move on to an earlier or later one if you wish.

Styles made easier

Managing styles is another thing that’s better in PerfectIt 4. Creating a new style sheet based on an existing one used to involve exporting a style sheet, saving it to the desktop and importing it with a new name. Now, the whole thing can be done from within PerfectIt simply by opening ‘Manage Styles’ and selecting ‘New’ – this opens a window in which you can give your new style a name and say which style you want to base it on.

Another welcome style change is that the built-in styles are now preserved, but if you want to make a change to one of those styles (eg to UK spelling), PerfectIt will automatically create a new version of that style sheet (eg ‘My UK spelling’), which you can modify. Also, the built-in styles will automatically update if Intelligent Editing makes changes to them. A further useful new feature is the option to combine style sheets, nominating which style should override the other where they differ.

Finally, the style sheet editor, which works behind the scenes, was always a rather daunting part of PerfectIt, particularly in comparison to the front end of the program. The basic set-up looks much the same, but a welcome improvement is that changes to the style sheet editor now save automatically, rather than the user having to click on ‘Save and exit’ to save changes.

The verdict

I would highly recommend updating to PerfectIt 4. The upgrade is relatively cheap (currently only US$49/year – around £40 – for those already on subscription), and the benefits will be obvious immediately, particular in terms of time saving. Also, for those who are used to previous versions, the interface is sufficiently similar that updating won’t hold up your work.

If you’re still in doubt, why not give it a try. Free trials for permanent licence holders and new customers are now available (and any style sheets that created in PerfectIt 3 will automatically be brought into PerfectIt 4).

Disclosure: Hilary received a 2-year subscription to PerfectIt as an incentive to pen this review.

Hilary Cadman is a technical editor who has been using PerfectIt for nearly 10 years and has produced online courses to help fellow editors get the most out of the program.


This article originally appeared in the July/August 2019 issue of Editing Matters, the SfEP’s digital magazine.


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.

Working with self-publishing authors – Part 2: expectations and implementation

Self-Publishing

Photo credit: kodomut

In Part 1: An industry of opportunity, SfEP ordinary member Sophie Playle explored who self-publishes, why and how self-publishing has developed over the years, and what this means for editorial freelances. In this post, she’ll be looking at the more practical elements of working with self-publishing authors.

Note: This post has been written with editorial professionals in mind. As with any type of client, it goes without saying that it’s important your skills are fit for purpose. This post doesn’t go into the foundations of training and finding clients, but instead looks at what an editor might consider when working directly with self-publishing authors.

1. Assessing the project for the right service

The number one thing to remember about self-publishing authors is that most of them do not know much about the editing industry. Their main job is to write, after all. They’re often aware that they need editorial help to self-publish professionally, but are not sure exactly what this entails.

Many writers will think they just need a quick proofread to catch any typos when the reality is that most would benefit from a development edit and a copy-edit first. These terms are often unfamiliar to writers, and since there are so many editors offering slightly different variations of the same service (which is also often called something slightly different), a little confusion can only be expected.

Communication is key with self-publishing clients. (Well, all clients, really!)

Ask what the client wants to achieve, and what they expect from your service. Take a look at a sample of the work – this is crucially important. Remember: there are no gatekeepers here, so the quality of work will vary greatly.

If you believe the client’s expectations don’t quite match what the project needs, open a discussion on why you think this, and how you can help.

Alternatively, if you can’t help – for example, if the client really needs a development edit but you specialise in proofreading – decline the work and point them in the right direction, whether that’s to an editorial friend who offers a different service, or to the SfEP directory of editorial services, or some other resource.

2. Assessing the project for compatibility of style

This might be most relevant to fiction writers, but in my experience many self-publishing authors are looking for an editor who ‘gets them’. They want to feel that the project that they’ve poured their heart and soul into, possibly over the course of several years, is in safe hands and that the editor isn’t going to mess it up.

An independent author doesn’t have the assurance of a publishing house that you’re going to do the best job. They only have their own assessment of you and your editing skills – based on recommendations and what they’ve gleaned from your public professional presence. They want to know they’ve made the right choice.

In fact, the client’s freedom to choose a compatible editor with whom to work is a benefit traditionally published authors often don’t get.

It’s in the editorial professional’s best interest, too, to work with compatible clients. For development editors, this might mean working with an author in your genre of interest. For a copy-editor, this might mean working with an author whose style you understand. There’s nothing more horrifying to a writer than to receive an edited manuscript in which the editor has stripped out all nuances of their voice.

Working with compatible clients means you can do your best work, and your client will feel they are in good hands.

How do you assess for compatibility? You might want to offer a sample edit – paid or free, that’s up to you. You might want to get to know your client and find out more details about their project through email or phone conversation before you commit to working with them.

There are lots of ways to go about this. The result should be that both you and your client feel confident that you understand each other.

3. Setting boundaries and looking after your client’s emotional needs

Self-publishing authors often require a little more reassurance and communication from their editors. They usually don’t have an agent or a publisher to answer their questions – they rely on you for your professional knowledge of the industry.

You’re often their main professional contact, and this means they have one burning question they want to ask you: ‘Is my work any good?’

I’ve heard varying opinions from freelance editorial professionals on whether or not we should pass judgement on a self-publisher’s work. Do we refuse projects if we think they are of unpublishable quality? Or should we simply do the job we’re being paid to do?

On the one hand, we are not gatekeepers. And whatever we say in response to this question would be purely opinion. (If I’d been asked whether 50 Shades of Grey would have been a success, I’m confident I would have said no!) We’re being paid to conduct a service, and so that’s what we should do. The rest is out of our control.

On the other hand, if a self-publisher asks for our thoughts or hires us for our professional skills, don’t we have an obligation to pass on our professional opinion? Isn’t that what they’re paying for? (Or should they only expect this if they’re paying for a critique?)

It’s a conundrum. There’s no right answer. My one tip? Make sure you communicate with your author. Don’t offer unwanted criticism (or unwanted mollycoddling), and let your author know your stance on the issue before you begin working together.

Be clear on your professional boundaries from the outset. You’ll be working directly with the creator, and this person will be emotionally invested in the project and possibly not have much experience of navigating the publishing world as a professional business owner (a hat self-publishers must decide to wear if they want to be successful). Clear terms and conditions are key. Look after yourself, as well as your client.

In summary, self-publishing clients have slightly different needs to other kinds of clients, and these should be taken into consideration. The main things to think about are whether they are commissioning the best service for their project, whether your editing style is best matched to their writing needs, and the emotional and professional boundaries you will address in the working relationship.

When it comes down to it, these are all issues of consideration and communication. I hope these pointers will help you and your self-publishing clients get the most out of your work together.

Sophie Playle profile photographSophie Playle, of Liminal Pages, is a freelance editor who specialises in fiction and often works directly with writers. For brownie points, connect with her on Twitter and LinkedIn. (Please note: No real brownies or points will be awarded.)

Proofread by SfEP ordinary member Samantha Stalion.

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