Tag Archives: training

National Freelancers Day 2019

By Abi Saffrey

Over the past five years, IPSE has hosted the ever-expanding National Freelancers Day. A friend joined the IPSE board last year and it prompted me to find out more, and I then bought an early bird ticket to this year’s event (for all of £20). The event was packed with sessions sorted into four streams: Winning Work, Digital, Health & Wellbeing and Finance. The day started with a keynote speech by Pip Jamieson, founder of The Dots, a diverse community of ‘no collar professionals’. No collar professionals are freelancers, or job hoppers, with generally creative-led skills, motivated by purpose. The Dots allows those people to detail projects they have worked on, and credit other contributors – a shift away from the linear career approach of CVs and LinkedIn. The key points I took away from those 45 minutes with Pip were:

  • Free is not always a dirty word.
  • Think laterally: tech and digital pay.
  • You are as good as the networks you build.
  • Work hard and be nice to people: use interpersonal skills and have human relationships.
  • You are the average of the five people you hang out with the most.

Winning work

Following Pip’s keynote, I concentrated on sessions in the Winning Work stream, including one on collaborative working by Hela Wozniak-Kay (share your knowledge, charge for your expertise), a panel discussion with five young entrepreneurs about how to succeed as a freelancer, Erica Wolfe-Murray’s flash talk on understanding your difference (made even faster by the previous speaker overrunning by 10 minutes – each flash talk was due to be 15 minutes long) and Carl Reader’s full-on Q&A session about ‘Building brand YOU’. The key themes in these sessions were:

  • social media, in particular Instagram, and the importance of engaging with followers and commenters
  • coworking spaces, great for networking
  • people do business with people – human to human
  • passion for what you do and how you do it.

Wear clothes

The day finished with another keynote speaker, this time Adam Kay, author of This is Going to Hurt. Adam talked (and made us laugh) about his shift from junior doctor to freelance writer and comedian, and offered his key advice for freelancers:

  • Wear clothes.
  • Wear shoes.
  • Food is fuel, not a distraction.
  • Don’t work on a sofa.
  • Say ‘no’.
  • Do things you’re passionate about even if it doesn’t make you money.

As well as over 20 presentations, workshops and panel discussions, there were also opportunities to talk to companies specialising in insurance, mortgages and bank accounts for freelancers – and to get a free headshot from The Headshot Guy or be drawn by Emmeline Pidgen. I got the photo (see my bio below), but was too slow to sign up for an exclusive original portrait.

Being the only editor

It was a different experience to a publishing or editing networking and professional development event: the sheer number of people meant fewer in-depth conversations, the variety of skills and industries meant a different range of ‘in jokes’, and some of the sessions I attended were city-centric (with limited awareness of how working life in rural areas or small towns is different). The goody bag wasn’t overflowing with pens but did include a fish-eye lens to clip over my phone’s camera lens (which of course will now be used for all photos until I sit on/drop/let the children near it).

I spent most of the day out of my comfort zone, but encountered inspiring people and came home with some ideas about refreshing my business and some ideas about what I don’t want to do. I will go again next year, with an updated elevator pitch and a shorter description on my name badge.

Abi Saffrey is an editorial project manager, copy-editor, proofreader, cat minion, tea drinker, Advanced Professional Member of the SfEP, sunflower grower and walker. She is author of the recently published Editorial Project Management guide and co-author of the SfEP’s Editorial Project Management course. Connect with her on LinkedIn; you can follow her on Twitter too but be prepared for cat pictures and ranting.

 


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.

Wise owls: the best CPD I’ve ever done

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

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

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

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

Sue LittlefordSue Littleford

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

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

Liz Jones

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

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

Nik ProwseNik Prowse

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

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

Margaret HunterMargaret Hunter

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

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

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

LLouise Bolotinouise Bolotin

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


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


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

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

 

My first steps into proofreading made me fit!

By Carolyn Clarke

Yes, it’s true, but allow me to start at the beginning.

I wanted to use another of my hobbies as a way of making a living. Two of my loves are plants and words. The former I had transformed into a successful gardening business over the last seven years. The latter started when I was a child, spending my pocket money in the local bookshop.

I love my gardening work but as a 50-something I realised that this amount of physical hard work could not go on for ever.

Enter my love of words. I was aware that I spotted mistakes easily. I liked consistency, tidiness and balance: proofreading was the way to go. And I knew that the outdoor physical could dovetail nicely with the indoor cerebral – Yin and Yang.

Getting started

With this no-brainer decision now made, I bought a new laptop and enrolled on an online proofreading course. It was a toss-up between the two reputable providers, the SfEP and the PTC. I chose the latter’s Basic Proofreading: Editorial Skills One, which took me nearly a year to complete. Before I did the course, I wondered if it was even necessary (I can already spell can’t I?!) but soon realised that, yes, it was very necessary. I didn’t know how much I didn’t know until I started the course.

I enjoyed the course immensely although it was a little biased towards working on paper with BSI marks and less focused on working digitally with Word or PDFs.

From the essential books that a proofreader needs I bought the New Oxford Spelling Dictionary, because it shows word breaks, and Trask’s Penguin Guide to Punctuation. I intended to buy New Hart’s Rules: The Oxford Style Guide and the New Oxford Dictionary for Writers and Editors but realised I could access these online with my library card. Excellent.

I wrote a profile about myself and was proudly listed as a proofreader on the PTC Directory. Competition is tough though, so I knew it was no use just sitting around waiting for possible work to come in: I had to be proactive, but how?

I was allowed to attend three local SfEP group meetings before I joined so I went to two different groups. Arriving early at the first, I was greeted by the one other early SfEP member and received my first gems of advice: read everything by SfEP gurus Louise Harnby and John Espirian, and have you joined findaproofreader.com yet?

I started to read lots online. Everything I read suggested something else that I needed to write or do; I had entered a very enjoyable internet black hole and was rapidly list-making in order to prioritise my tasks.

I created a logo for myself and set up various social media pages on LinkedIn, Facebook, Aboutme and FreeIndex knowing I could always add to them as I gained more experience, work and, importantly, good reviews.

Getting work

Approaching one of my long-time gardening clients, I offered to proofread their business website at a reduced rate. No, they said, we will pay you SfEP rates. I was jumping with joy and raring to go; I could now use my logo-emblazoned invoice created from a Word template. A couple of real clangers stood out: ‘Sometimes a simple and sort video can cut though the fog of technology’, and ‘Sign up our newsletter’. Hilarious. Armed with a review and some experience I logged back on to my social media platforms…

My enthusiasm boosted, I trawled sites online and found a theatre website that was littered with schoolboy (and girl) errors (‘thrown’ instead of ‘throne’, [groan]) and yes, he would be happy for me to proofread it in exchange for some theatre tickets and a review of my work.

Getting fit

I was now spending hours glued to my laptop. Sitting is alien to a gardener so I started to sandwich my computer work with activity: a five-minute plank and ab workout, ten minutes of yoga, a fifteen-minute run/walk and, believe it or not, skipping with a rope! (It is astonishing how tiring it is now compared to when I was a child!) For a longer break, I walk for at least an hour.

I practised working with Word and using Find and Replace to make searching a text quicker. I had read about using Templates and Styles and added them to my To Do list. Macros were new to me but I downloaded Paul Beverley’s Macros for Editors and installed the Macro Starter Pack which I knew at some time in the future would make my proofreading much, much quicker. When I found that Louise Harnby had made a set of BSI stamps available free to use with PDFs, I immediately downloaded a set and had a go; I wanted to practise using the marks I’d spent months learning before I forgot them.

Ten-minute run break…

I had now joined the SfEP and so began my descent into another internet black hole: the SfEP forums. These are online discussions where members can post questions and read about anything to do with proofreading or editing, whether it be a grammar question, finding work or dealing with clients. It is a hugely supportive network of experienced professionals. Another valuable asset is the archive of Editing Matters, the SfEP’s bimonthly magazine which is full of useful articles.

Yoga mat aside, I thought about the need for finding a niche. My specialisms are gardening and horticulture but I am also a trained primary teacher so educational books may be a good way to go. From the library I borrowed the Writers’ and Artists’ Yearbook and noted the contact details of educational publishers and publishers that produce books about horticulture. There is also a section on book packagers, another possible tack that is new to me. My To Do list continues to get longer.

I reach for my skipping rope in between the emailing…

Carolyn Clarke is a bookworm with a sharp eye! She is a freelance proofreader who specialises in horticulture and primary education but will happily proofread a range of fiction and non-fiction. Connect with Carolyn on LinkedIn.

 

 


A longer version of this post is available in the May/June 2019 issue of Editing Matters.

The SfEP has a wide range of courses for new and experienced proofreaders and editors, and SfEP membership benefits include discounts on the ‘must-have’ resources and software.


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.

Six ways an editor can improve your business content

By Mary McCauley

What do you think of when you read the words ‘editor’ or ‘proofreader’? Perhaps if you haven’t used our services before, you might think of us as people who look for spelling and grammar errors? People who check that commas are in the right places? And, yes, you’d be right – we do check these things. But we can also do much more to help you produce content that delivers on its business objective.

Business report on a deskBusiness editors work on a wide range of business content including reports, strategies, policies, newsletters, blog posts, websites, brochures, marketing material, catalogues, manuals, presentations, directories and survey results. Here are six ways an editor can add value to these documents.

1. An editor can make sure your content is clearly written and complete

Often when we are so familiar with or knowledgeable about a topic, we have difficulty explaining it in a way that a non-expert reader can understand. So whether it’s a guide about your services, a marketing material promoting a new product, or a report on a technical examination, an editor can make sure that your intended readers will understand it and take action as you want them to.

An editor can edit and, if necessary, rewrite your content to ensure that:

  • The wording, style and tone are suitable for the target reader.
  • The content flows in a logical order the reader can follow.
  • There is no confusing or misleading content.
  • No important information is missing.
  • No unnecessary information is included.
  • The layout helps guide the reader, eg paragraphs, headings, lists, graphics.
  • The language, spelling and style are consistent.

2. An editor can check that the basic facts in your content are correct

While businesses are responsible for the content they create, editors can help make sure that this content is accurate. We can save you from publishing an embarrassing mistake and the potential customer mistrust that might follow. If, for example, you are writing a business-to-business report, you might include details of your client’s or another company’s name and products. You might refer to relevant legislation or to specific dates. It’s important that these details are correct and that your client can rely on you to get them right.

An editor can check that names are spelled correctly, that you’ve referred to the correct section and year in the legislation and that Thursday 16 November 2018 actually was a Thursday.

3. An editor can rewrite your content into plain English

Writing in plain English is not about ‘dumbing down’ language, nor is it only for target audiences that include people with reading difficulties. Customers are busy and probably prefer not to have to wade through dense, long-winded text to get to the basic information they’re looking for. Writing in plain, simple language can help you deliver your message more successfully. And if your customers understand it, you’ll have fewer queries to deal with.

A plain English editor can help ensure that your content contains:

  • language your target audience will understand
  • positive and active language
  • everyday vocabulary.

And that it avoids:

  • long, meandering sentences
  • problematic jargon and bureaucratic phrasing
  • unnecessary words and phrases
  • unnecessary capital letters.

4. An editor can create a style guide for your organisation’s written content

Does your organisation create a lot of written content? Is it written by two or more people? Is the work subcontracted to copywriters, design companies, printers, etc? If the answer to any of these questions is yes, then consider developing your own organisation-specific style guide. Using one means it’s more likely your documents will be consistent in language and style. This in turn helps increase your customers’ confidence in your business.

An editor can create and develop a style guide specifically for your organisation. This will guide the people writing your content on things such as:

  • Capitalisation – chief executive officer or Chief Executive Officer?
  • Numbers and symbols – 20% or 20 per cent?
  • Currency – euros or euro?
  • Lists – full stops, commas or nothing at the end of bullet points?
  • Dates and time – 13 May 2019 or May 13, 2019?
  • Spelling preferences – recognise or recognize?
  • Quotations – double quote marks or single?

An editor can also include an A–Z list of words, terms and abbreviations used regularly in your business and give guidance on the spelling, capitalisation, etc of these.

People sat around a table, discussing a business plan

5. An editor can deliver editing and proofreading training to your staff

If you would like to develop your organisation’s in-house writing and editing expertise, an editor can design and deliver workshops for your staff based on your organisation’s particular needs. This will help your staff to write better business content.

An editor can provide training on:

  • editing and rewriting content
  • writing in plain English
  • using your organisation’s style guide
  • proofreading.

6. An editor can proofread your final designed content before it goes to the printer

Along with all this added value an editor can bring to your business content, we can still help you with that final proofread of your designed and laid-out content. However, this proofread includes so much more than just a check for spelling and grammar errors! Business clients are often amazed by how detailed a final proofread can be and the range of problems it can highlight.

An editor can proofread your final document to check that:

  • A table of contents page matches the actual contents.
  • Headers, footers and page numbers are correct and consistent.
  • The content is laid out correctly and in the right order.
  • Headings and subheadings are correctly and consistently styled.
  • Lists are consistently styled and punctuated.
  • Images and graphics are clear and placed correctly.
  • Tables and figures are numbered, captioned, referenced and styled correctly.
  • Hyperlinks work and are styled consistently.

The above is just a sample list and by no means exhaustive – there are lots of other things we also check for in a final proofread.

Your business content is important, and getting it wrong can be costly and time consuming. An editor can do so much more than just check it for spelling mistakes, so consider contracting a trained professional editor to help you create the best content for your business.

Note: For the record, 16 November 2018 was a Friday and not a Thursday!

Mary McCauley

Mary McCauley is an editor and proofreader specialising in helping business, government and public sector bodies in Ireland and the UK. She has 15 years’ business research and administration experience, mostly in the public sector, and started her editorial business Mary McCauley Proofreading in 2012. She is an Advanced Professional Member of the SfEP and a Full Member of the Association of Freelance Editors, Proofreaders and Indexers of Ireland (AFEPI Ireland). Connect with Mary on LinkedIn or on Twitter.


The SfEP offers bespoke training courses, led by experienced and skilled editorial professionals, suitable for any organisation that wants to produce high quality content.


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.

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

Project fear: fiction editing

By Gale Winskill

With apologies to Jane Austen, ‘It is a truth universally acknowledged that most editors enjoy reading’. I say ‘most’, as there will undoubtedly be an exception somewhere – and when you find them, please let me know! Of those who read for pleasure, I would hazard a guess that the vast majority probably opt for some sort of fiction, although again, a small percentage will not.

Drawing of a book with a visualisation of a story coming from its pagesBut those who don’t will quite possibly enjoy memoirs or biographies that share many narrative traits with fiction, as ultimately they encompass a good ‘story’, and require pace and drama.
Fast-forward then to the surprising number of editors who recoil in horror at the thought of actually editing fiction, preferring the relative order of non-fiction subject specialities, academic guidelines and referencing systems over the perceived unwieldiness of fiction.

Spot the difference

And yet, is non-fiction/academic editing really so different from fiction editing?

We all pass an unconscious critical eye over our reading material, of whatever ilk – newspaper articles, web text, books… And how often have we come to the end of a novel only to wonder what happened to a particular character who inexplicably disappeared from view at some point, or to query why an author suddenly switched to American idiom for a protagonist previously noted for their ‘West Country vernacular’?

Is this really so different from spotting in a work of non-fiction that the Russian Revolution occurred momentarily in 1817 rather than 1917, or that Reggio Calabria had transformed into Reggio Emilia, which is at the opposite end of Italy? Leaving incorrect or inconsistent facts in any type of text can lead to unnecessary reader confusion.

But what about all that dialogue and jargon? How is an editor supposed to ensure conformity in a text written in teenage slang, for example? Well, for those of you with teenagers in the house, a quick question in this regard will not only engender a snort of derision, but will also provide the necessary clarification if required. Even if you don’t have direct access to this subspecies of the human race, there are wonderful online resources to keep you up to date, just as there are helpful organisations to keep you abreast of changing terminology and ethical considerations in other areas of your editing life.

‘But there are no rules to fiction,’ I hear you cry. Well, that’s not entirely true, is it? The basic conventions of grammar, punctuation, tense agreement, spelling and so on still apply … just not always with the same regularity as in other texts. The key is to find the pattern and then impose consistency. Think of it as a challenge, a puzzle to unravel. Patrick Ness’s phonetic transcription of language in his Chaos Walking trilogy isn’t unintelligible; it’s innovative, consistent and apt. It’s completely sensible to expect that a teenage protagonist with no formal education might write ‘station’ as ‘stayshun’. In non-fiction or academia, the word ‘anxiolytic’ might have more resonance for its target audience than the term ‘anxiety-reducing’. Ultimately, it’s a matter of context … and uniformity.

Genres, interest and expertise

But that still doesn’t address the elephant in the room – the huge array of genres: thrillers, young adult, erotica, crime, romance, fantasy, science fiction, children’s, and so on. How can an editor possibly deal with all of that?

Well, most fiction editors don’t. Generally, our editing specialities reflect our reading preferences, in the same way that many non-fiction editors focus on their own areas of general interest or academic expertise. We all have our comfort zones. After all, if you read a lot of crime fiction, you are more likely to spot a glaring narrative discrepancy in a similar work – especially if the ‘error’ concerns the plausibility of that one vital piece of information on which the entire plot hinges – than if you usually read magic realism.

And if erotica or science fiction are not your bag – as self-help, politics or Celtic religion might not be someone else’s – then why would you even consider working on them? It’s not compulsory. The beauty of fiction is that there is such a range to choose from that there really is something for everyone. And nowhere does it state that you have to edit fiction to the exclusion of other types of work.

Bookshelves with clouds and birds aboveNovel impact

At the recent 2018 SfEP conference, I attended two excellent sessions on very different aspects of fiction editing. Although some might think that I had little to learn, given that I have been editing fiction in one form or another for a very long time, I would beg to differ, as I always discover fresh ways of looking at old topics. The sessions brought together newbies and veterans, and each had as much to offer to the discussion as the other. One thing that emerged was that everyone could cite novels that had had an impact on them at some point, and were able to verbalise the reasons why. The same applied to their responses to the various exercise texts.

And if you can articulate your reaction to a piece of narrative prose, you can edit fiction!
Fiction is uniquely subjective and everyone has a different – and equally valid – opinion of what works and what doesn’t, and it is this existence of ‘no right answer’ that scares those who avoid it.

It is true that no two fiction editors will ever highlight exactly the same things in the same narrative, although there will be commonalities. Things that bother me may not bother you, and at the end of the day who’s to say that I’m right and you’re wrong, or vice versa? We can posit an opinion, but what the author does with that information is up to them – as with non-fiction editing.

Fiction editors provide authors with an invaluable service. Not only do they tidy up a text, and ensure that plot details tally, the text is reasonably clean, pace is maintained and the chosen spelling conventions are consistent, but they also stand in for the final reader – the book buyer! They let the author know what works and what doesn’t, and so help them to avoid those often minor, yet erroneous details mentioned above, which can ultimately detract from an otherwise great story.

And next…

So, if you are now thinking that fiction editing may not be quite as scary – or as alien – as you first thought and might like to give it a go, or if you have members of staff who would benefit from an overview of how to get started and what to consider, perhaps you should contemplate the SfEP’s online Introduction to Fiction Editing course.

Written by a variety of experienced fiction editors, it offers a broad overview of the basic things to look out for when copy-editing a work of fiction. There are no fixed ‘rules’ as such, but you will hopefully discover that fiction editing is not quite as lawless or ‘unquantifiable’ as you envisage.

Above all, the course provides ample reassurance that, as long as you can justify your opinion in the context of the novel, your very own ‘no right answer’ might actually be correct. But there’s only one way to know if I’m telling the truth, so why not confront your demons and learn how to kill those darlings?

Gale WinksillGale Winskill is an Advanced Professional Member of the SfEP who enjoys a challenge. She co-wrote the SfEP’s online Introduction to Fiction Editing course.

 

 

The SfEP also publishes a guide to Getting started in fiction editing, written by Kat Trail.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Is medical editing for you?

By Catherine Booth

Who can be a medical editor?

Medical editors need all of the usual editorial skills of proofreading and copyediting, combined with some knowledge of medicine, research or biology and an ability to work to tight deadlines. While medical editors come from all walks of life, a scientific degree or practical experience in medicine – perhaps as a nurse, pharmacist or research scientist – is a must.

Although some scientific or medical knowledge is important for a medical editor, it isn’t necessary to be a subject-matter expert. While it is often useful to have a background in the specific area at hand (eg cardiology), this isn’t always practical; as a medical editor, you might be asked to work on a journal article about diabetes one day and another on spinal surgery the next. But you are not writing the material – that is the job of the author, who should be a true subject-matter expert. You are the editor.

Pile of medical booksSo what is medical editing?

Medical editing involves applying standard editorial skills to medical subject matter, but also has some characteristics of its own. Medical editing projects often involve multiple authors, complex sign-off procedures, tight deadlines, exacting house style guides, many (often complex) figures and tables, and heavy referencing.

It is common to work with authors who have English as a second language. Medical editors should feel confident in asking authors for clarification, while acknowledging their expertise. You work as a team with the author: He or she is the expert in the medical subject matter, while you are the expert at getting across a particular message with clarity and accuracy.

Where could I find work?

Various people and businesses employ medical editors. Individual authors will often approach a medical editor to ‘polish’ their manuscript before submitting it to a journal, while bigger employers can include universities, publishers, medical or scientific societies, research institutions, government departments, medical communication agencies, pharmaceutical companies and patient-support or research-based charities.

All of these organisations have different characteristics, and the materials you will be asked to work on will vary according to the client. Journal publishers will ask you to proof PDFs or edit manuscripts in Word, for example, while medical communication agencies will often ask you to proof conference posters or to edit slide decks in PowerPoint.

With this in mind, you need to have a variety of skills in your toolbox and to be happy with working with a range of programs. In each case, one thing that it is important to understand as a medical editor is the audience for the materials you are working on; the acceptable level of complexity and medical terminology will vary depending on whether the material is aimed at researchers and clinicians or the general public.

What next?

Perhaps you’re already a competent editor with some kind of background in health and/or science and becoming a medical editor sounds like a great idea. Or you’re working within medical publishing and feel that you could do with a bit of training to formalise what you’re doing every day.

The SfEP’s online Medical Editing course aims to give you a general overview of the specialism of medical editing, and the chance to practise some of the key skills that you will need. It includes exercises to hone your skills, plus model answers to check you’re on the right track. You will also have support from an online tutor, so there’s someone available to answer your questions and give advice on next steps.

Could you be a medical editor? The SfEP’s Medical Editing course gives you one way to find out.

Shelf of medical books

Catherine Booth has been a freelance medical editor for more than 15 years, and works with a range of publishers and medcomms agencies. She is an Advanced Professional Member of the SfEP and the writer of the organisation’s Medical Editing course.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Talking Tech with BookMachine

By Anya Hastwell

“Find the thing that annoys you the most – and then try and fix it,”

says Sara O’Connor, Bibliocloud’s full stack developer at BookMachine’s recent Talking Tech event in London.

You’d be easily forgiven if your initial impression of an event encouraging publishing folk to learn tech is that that it will lure them away to pursue a more profitable career in another industry … but you’d be wrong. Sort of. (Touch wood.) What the event’s speakers want to encourage is for publishing folk to be inspired to learn more tech skills that can make their own working lives easier, as the publishing industry is – and has been for some years now – becoming more digital. A perfect example is that of educational publishing, where tech is making waves not only in making learning texts digital, but also with apps, online platforms and programs for homework tracking, online marking, assessment tracking, learning games, and others. But how can we make our tech and products more user-friendly?

Computer code

To answer this question and others, let’s go to the speakers on our all-women panel. Our host Emma Barnes, founder and CEO of Bibliocloud and MD of Snowbooks, starts things off. After being made redundant from a consultancy firm, Emma founded her own independent publisher, Snowbooks, before teaching herself to code and build systems within Excel to speed up the admin side of her business. (Yes, Excel really can be programming … ). She went on a coding boot camp via Code Bar, a charity that aims to make coding more accessible (she also recommends railstutorials.org). From having with no previous coding experience, Emma became a software engineer and went on to build Bibliocloud (now called Consonance), a publishing management software.

”Learn as much programming as you have the appetite for. It means you won’t be taken in by some flashy web developer, it gives you the agency to make good decisions. Tech is the new literacy … There is always a way to automate yourself out of misery.”

Next up is Lola Odelola, software engineer and founder of blackgirl.tech, an organisation that aims to help diversify the tech industry. Lola studied English literature and creative writing at university. While job hunting after graduation, she decided she wanted to build a website for herself to showcase her writing.

“After realising poets only make money when they’re dead, I set up a website for myself to try moving into journalism. I was jobless so I had a lot of time on my hands. I loved it, so then I did a bootcamp for 6 months.”

While seeing that there was some (gender) diversity in the tech industry – much like publishing – she saw there was still a long way to go before this stretched towards diversity in ethnicity: “Before I started coding I knew nothing about screen readers or accessibility, but I had friends who were getting tagged in photos by AI as apes. Tech should be making life easier for people on the margins.”

The importance of diversity within the tech teams creating our products is therefore vital for making publishing tech and other products more user-friendly and accessible, as such problems would be identified earlier and certainly caught before release to the wider public.
The coding language Ruby gets some extremely good press here tonight, which our next speaker Sara O’Connor recommends heartily. Sara started her career in children’s book publishing as an editorial assistant, and turned to tech to find better ways of doing boring and repetitive admin tasks, before working up the ranks to editorial director. She started off with no coding experience before doing a couple of week-long coding courses and then a three-month bootcamp, before returning to publishing with an array of new skills as Bibliocloud’s full stack developer.

“I’m a full stack developer building the software I wish I had when I was an editor. I advocate Ruby for publishing folks because it’s like a book. It’s an object-oriented language, and we’re already used to reading.”

The issue of diversity comes to the fore again as our last speaker, Janneke Niessen (entrepreneur, investor, board member, Improve Digital, Inspiring Fifty, Project Prep), reminds us that without diversity in tech, the future is not inclusive. “Algorithms are not neutral.” It seems that artificial intelligence stealing our jobs or killer robots are not the real danger, but our own bias, conscious or unconscious, is. Janneke proceeded to tell us a story of when she asked her son what he thought she did for a living. “A princess who dances!” was his reply. So she set about videoing herself while working, explaining what she was doing and why she was doing it to show him what she actually did at work. Janneke showed us some slides while giving us plenty to think about: some 65% of children in school today will have a job that does not yet exist; people’s ability to think differently, be different and challenge previous concepts of how things ‘should’ be done are valuable – people who can be flexible and mutable, and who do not necessarily fit in, are those who companies need to hire in order to change and keep up with the times.

Presentation slide about diversity and investment

This was quite possibly my favourite BookMachine event of those I’ve been to, and it did make me think about what we define as ‘coding’… Many among the SfEP’s ranks are either familiar with or swear by the use of Word macros (quite literally, sometimes). Very often, macros are the only way of being make certain projects achievable within a budget and timescale given by a publisher.

Whether you want to find some neat tricks in Excel to speed up your admin, start using some really clever Word macros that will do a lot of your editing dirty work for you, or update your CV with the kind of skills that could open doors to some really covetable workplaces and clients, there’s no doubt that the publishing industry needs people with a talent for tech, who can use it for an audience’s benefit.

How you want to apply these skills, and how far, is completely down to you. You’re still the one pressing the button.

Anya HastwellAnya Hastwell is an Advanced Professional Member of the SfEP as well as serving as its professional development director. After working in-house for several publishers for nearly 10 years she went freelance in 2014, and works on an enticing array of non-fiction material from medicine to history, ably distracted assisted by three feline helpers.

 

Posted by Abi Saffrey, SfEP blog coordinator.

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

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

What is CPD, if not another acronym to spell out and add to the list?

Continuing professional development (CPD) is a recognised, systematic way of tracking your professional development on an ongoing basis. It also helps you to document and reflect on any learning or training that you either undertake formally or acquire informally.A pile of open books, with pens and notepaper between the pages

In some professional and chartered organisations, undertaking a set number of hours’ training and being able to show demonstrable evidence of CPD in case of audit is a requirement to keeping one’s membership and certification to practise. Physiotherapy, nursing and medicine are a few such examples – fields where people’s health, safety and, indeed, lives are at stake. Law is another. The industry bodies for these professions have their own specific CPD structures in place for their practitioners to use and journal their own CPD activities.

Why is CPD important?

In editing and proofreading, thankfully no one is *actually* going to die if a comma is missed or spliced; however, livelihoods and professional reputations are most definitely at stake, and not just the freelancer’s. An author’s sales may suffer from receiving bad reviews on Amazon about all the typos left in their book; a publisher’s relationship with an author may break down over the choice of editor (“Why did you choose this person to edit my book?”), ensuring that the second edition never happens …

This is why the SFEP considers CPD essential for editorial best practice and maintaining high standards, not just among its members but in the publishing profession as a whole. All members of the SfEP are also expected to abide by its Code of practice, Ensuring editorial excellence. Being aware of and following best practice is part of being a professional, doing the best job possible within the constraints of the budget and surviving in a changing industry. Undertaking regular CPD activities is the best way to ensure you’re doing that. These of course include undertaking training courses and attending conferences and workshops, but more informal activities count too: catching up on articles and blogs on editorial best practice; learning a new keyboard shortcut; adding a new macro to your repertoire. Filling in and maintaining your own CPD log is also a great idea, such as jobs.ac.uk’s Interactive CPD Toolkit, a free downloadable guide and interactive log for CPD journaling.

How does CPD help us maintain best practice?

CPD is an essential part of being able to call what you do a career – the word itself implies progress, a person’s ‘course or progress through life (or a distinct portion of life)’ according to the OED – and in order to stay ahead in the game and be the best you can be, you’ll want to keep your skills up to date. It is also rewarding to be able to look back and see how far you’ve come; to have goals to aspire to; and to grow in yourself and your profession. There’s always something new to learn and that’s what CPD is all about: keeping an open mind, always learning and always growing. Where do you want to be in a year’s time, or three years? Or five years? CPD can help you realise your long-term goals too.

What does it mean in the context of the SFEP and upgrading?

The SfEP’s membership upgrade process is designed to encourage its members to think about CPD and to progress through Intermediate Membership (IM), Professional Membership (PM) and eventually Advanced Professional Membership (APM). Aspects such as training and experience are assessed in meticulous detail by an Admissions Panel; and for Professional and Advanced Professional upgrades, this includes references from satisfied clients as well. Evidence of CPD gained in the past 36 months before upgrading to Advanced Professional membership is also required.

Members who have reached these two highest membership tiers are also entitled to their own entry in the SfEP’s Directory of Editorial Services, which is well known among publishers and businesses as the place to look for the best freelance editorial talent.

Put it to the Panel

The SfEP’s upgrade process is shrouded in some mystery, mainly because the whole nature of it is confidential to ensure that every application is assessed fairly and without any bias. All upgrade applications are assessed anonymously; the Admissions Panel assessors never know the identities of the applicants. (This is why applicants shouldn’t post test scores on the forum or other social media, or at least not until an application has been assessed and the result is received.) Panel members are Advanced Professional members of the SfEP. Assessing membership upgrade applications involves weighing up the value of an applicant’s experience, training and CPD to discern whether the SfEP’s standards have been reached.

What makes a good upgrade application?

Here are some (anonymised) quotes from some of the SfEP’s Admissions Panel:

No detail is too small:

“I’m happier with an application that shows that the applicant has taken the time and trouble to read the wealth of information on upgrading available on the website, and has put themselves in our shoes: ‘What can I do in my application that will make it easy for the Panel to say yes?’ This is a skill I’d expect to see in a good copy-editor or proofreader. Can this applicant anticipate their client’s needs and produce, say, handover documentation to meet them? Has he or she actually read the brief? We make it very clear on the website that, for instance, we need to know hours of freelance experience. So produce that information, not in days, or weeks, but hours. We make it clear that we need to know the proportion of time an in-house editor has spent exercising the core skills (copy-editing and/or proofreading) and are delighted when an applicant gives us that information.”

Remember you’re a professional:

“Remember to proofread your application with as much care as you would give to any proofreading or editing job. It should reflect your professionalism and attention to detail. Typos, errors and inconsistencies are noted by the Panel and can count against you, particularly for the higher levels of membership.”

But on a lighter note:

“The Admissions Panel are here to help you upgrade rather than to bar the way, so they appreciate anything you can do to help them help you!”

Continuing professional development is essential throughout a copy-editor/proofreader’s life, and it doesn’t stop when one attains Advanced Professional membership or the point where the work finds you, rather than the other way around. It’s a constant.

The SfEP’s professional development day for educational publishing is due to take place in London on Monday 12 November. You can find out more here.

Got any questions about CPD and the SfEP? Email the SfEP’s professional development director, Anya Hastwell, at profdev@sfep.org.uk.

Anya Hastwell, the SfEP's professional development directorAnya Hastwell is an Advanced Professional Member of the SfEP as well as serving as its professional development director. After working in-house for several publishers for nearly 10 years she went freelance in 2014, and works on an enticing array of non-fiction material from medicine to history, ably distracted assisted by three feline helpers. 

 

Posted by Abi Saffrey, SfEP blog coordinator.