Monthly Archives: June 2015

Transferable skills and life lessons

It’s safe to say that all proofreaders and copy-editors did something before they started out. Here are a few of the things I learned that I still use every single day.

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Brownies and Guides

I was a Sixer and a Patrol Leader, so early on I was learning about teams, about working together for a common goal within my own team and in conjunction with others, yet not afraid to stick my neck out and do things off my own bat.

School deadlines!

Thou shalt have thy homework in on time! Show your workings. Quality output pleases people. I ended up a prefect, so more acceptance of additional responsibility.

Saturday job

(Four years in a pet shop.) Be nice to people and they’ll come back. Businesses are built on returning customers. Watch your wastage. The backroom parts of the job are important, too. Regular heavy lifting builds muscle – if it seems hard at first, it will get easier with practice.

University

Make sure you understand the brief, can carry it out independently and to a high standard. Look things up if you’re not sure, or even if you think you are – avoid dumb mistakes. Self-discipline and time management. The importance of research. The art of procrastination (sad, but true).

Psychology experiment subject

(Earning a bit of cash to help while studying.) Check your understanding of what’s required. Test your equipment. Concentrate.

Postgrad course choice

You can survive the most horrendous mistakes.

Proper job

(I joined the civil service as a direct entrant junior manager and took it from there for the next *cough, cough* years in central government, then outsourced to the private sector.) The value of precision work. Negotiation. Vigilance. Effective communication with customers of all kinds and temperaments. Running a budget. It’s easier to save a pound than earn a pound. Cash flow is king. Know where you and the work you do fit into the overall process. Under-promise and over-deliver, but don’t go crazy on either.

Look ahead and anticipate problems. Calculate task dependencies. Prioritise and plan. Keep people informed. Be realistic. If things look like going pear-shaped, take early action and warn people as soon as possible. Put yourself in your client’s shoes and act accordingly. Be reliable. Be flexible, but don’t be a doormat or a yes-man – it does no one any good and will quite often bite you on the bum. Seek out training. “We’ve always done it that way” is the wrong answer. When estimating, give yourself contingency time. Don’t work at 100% capacity as routine – if there’s a crisis, you’ve nothing else to give.

After every project think about what worked, what didn’t, what needs tweaking and what needs investigating further with a view to bigger changes – then act before the next project. Don’t get so wrapped up with the work in front of you on your desk that you don’t see what’s going on around you. Keep an eye on industry innovation.

Sue LittlefordSue Littleford was a career civil servant before being forcibly outsourced. That was such fun she changed tack altogether and has now been a freelance copy-editor for eight years, working mostly on postgraduate textbooks plus the occasional horseracing thriller. She is on Facebook and Twitter.

 

Proofread by www.proofeditwrite.com.

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

Reading more than once

reading onceAt an SfEP local group meeting the other day, someone asked the question “Do you read things more than once?” Several of us answered “No” without hesitation. Often, there is not the budget to allow for more than one full pass at the proofreading or copy-editing stage. However, as the conversation went on, that “no” was further qualified.

There’s no doubt that looking at something more than once is likely to provide a more accurate end result. So when, and in what ways, might it be appropriate to go over things again?

  • A way to get a quick overview is to check the contents carefully first against the main body of the book or document when proofreading. Check that chapter names are correct and numbered correctly, and check the running heads. As well as ensuring that the contents list is accurate, this provides a quick overview of the book’s structure and general content, so you know what’s coming – this may influence early proofreading decisions, potentially saving you time and angst later on.
  • One idea that was suggested was to make separate passes for different kinds of error – either those specific to the project, or errors we personally know we have a tendency to overlook. These weaknesses will vary from person to person; I know I have a blind spot when it comes to subheadings, for instance. Someone else mentioned en dashes in number ranges. There will be at least as many examples are there are editors.reading again
  • We also agreed that the need for multiple readings might be dictated by the subject matter or the genre of the project. Fiction, for example, demands an in-depth understanding of plot and structure that may not be possible to grasp with a single read. Of course structure is important in a non-fiction book too, but often it will be more explicit and prescribed.
  • Some editors swear by printing things out and doing a separate read-through on hard copy. Again, the decision to do this, or not, will come down to personal preference and may well be influenced by the budget.
  • Most of us probably use some kind of end-of-project checklist to help us scan the text for particular things at the end of a job. This might be a standard checklist that we use for every project, or something more specific to the job (perhaps provided by the client), or a combination of the two approaches.
  • Finally, we all agreed that when starting out proofreading, multiple passes are probably necessary. Any proofread or edit involves looking for a range of types of error, and it takes time to learn to pick up all the little details, while also reading for meaning. Accuracy at speed comes with practice.

Do you read more than once? And do you do a detailed read, or do you have strategies to speed things up?

Photo on 28-05-2015 at 13.51 #2Posted by Liz Jones, SfEP marketing and PR director.

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

 

Everyday CPD

photo (3)There’s nothing like going on a training course or attending a conference for an intense dose of CPD. But the rest of the time, CPD happens more by osmosis.

Learn from other editors

Many of us work alone, and it can seem that we work in isolation. But just in the last week I have had two very positive experiences of learning from other editors in the course of my everyday work. One job involved a second proofread, and I was sent my first proofread to check against. The first proof set now also included marks made by the senior commissioning editor, who is obviously intimately acquainted with the series (this was my first book for the client, and it had quite a complicated set of features). I learned so much from being able to see which of my original corrections the editor had let stand, and which she had modified or stetted for the typesetter. Any subsequent books I proofread or edit for the client should be easier and more accurate as a result.

The other positive experience involved copy-editing in Word using a template made by a fellow SfEP member, supplied to me by the client (an educational publisher). The template was set up in such a way that using it enabled me to see at a glance exactly how long each of the lessons in the book was running – again, there were various features such as boxes which complicated matters – and cut accordingly. This saved me time, and led to a greater degree of accuracy – hopefully there will be no need to cut text at the proof stage as a result.

Read around the subject

One of the best things about our work can be the variety of materials and subjects we work on. Many a time I have found myself happily distracted by the subject matter of a book, and reading around it in my own time. Although this is essentially a pleasurable exercise, it can also be of direct benefit in terms of your work – next time you edit a book on the same subject, you will be much better informed.

Work in house

This kind of opportunity doesn’t come up every day, but it might – and if it does, be open to it. Working in a client’s office is a golden opportunity to pick up work tips. You’ll see directly how people tackle the kind of work you need to do, and you’ll be able to ask questions in real time. You’ll also make new contacts and cement existing ones. And as well as being a CPD injection, who knows where the experience could lead in terms of future projects?

Move outside your comfort zone

I’m not suggesting you take on work that you’re really not ready for or trained to do – that would be irresponsible. But if you are offered a job for which you tick most of the boxes, but that goes just beyond what you’ve done or experienced before, don’t instinctively turn it down – taking it on can be the best way of learning. If you will need to pick up a new skill to complete the job, there are plenty of people you can ask for advice along the way. Carry out your own research, ask editorial friends and colleagues, or try the SfEP forums or any other online group you are part of.

A job that requires a new way of working may take longer than you expect the first time you do it. Think of learning how to do something properly as an investment, though. Next time you’ll be much quicker.

Learn a skill not connected to editing

Not everything we do has to be about editing. Work can be all-consuming, especially for freelances and small-business owners, and it’s healthy to switch off from it for a while. You might take up a sport, or a musical instrument, or study another language. Getting away from the desk is a great way to relax, think about something else and develop a new area of expertise in the process. However, a positive side-effect may be that when you return to your desk, you are able to see the solution to a niggling problem more easily. And in the longer term, it’s sometimes possible to turn a seemingly non-editorial hobby – such as cooking or gardening – into an editorial specialism.

Harnessing everyday CPD

Ultimately, most of the things mentioned above will simply happen in the course of everyday life – editorial and otherwise. The trick is to recognise and acknowledge what is happening in order to make the most of it.

Photo on 28-05-2015 at 13.51 #2Posted by Liz Jones, SfEP marketing and PR director.

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

 

Specialist Q&A – medicolegal editing

Specialist Q&A graphicOur 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. 

Etty Payne is a freelance translator, proofreader and copy-editor. She has answered some questions on one of her specialisms: editing medicolegal reports.

1. Briefly, what’s your work background?

I have a degree in French and was an in-house translator for 16 years, much of that time at the Council of Europe in Strasbourg. Editing and proofreading was very much part of the translation work and I continued as a freelancer once we moved back to the UK.

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

I’ve been doing medicolegal reports for nearly 4 years. I was already specialising in medical communications, nursing and healthcare and was approached by a medicolegal expert who wanted his reports proofread. I’ve since picked up several similar clients.

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

You need a lot of medical knowledge and some legal knowledge. I don’t have a degree in medicine but, for a number of reasons, I’ve done a huge amount of self-study in various fields of medicine, pretty much continuously since the age of 18.

Because these reports are often written at speed or transcribed from poor quality dictations, they can contain many mistakes, and yet clarity and accuracy are crucial. You need to be able to see at a glance whether or not names of drugs and diseases or anatomical and medical descriptions are correct. But at the same time, as the reports are written for readers who aren’t expected to have any medical knowledge, you have to be able to read them from their point of view and ensure that complex medical ideas and opinions are expressed in very clear, precise English.

A good understanding of the strict legal requirements and principles governing how these reports are written is also essential so that you can let the expert know if their report hasn’t followed the rules.

And, because some clients want their reports formatted from scratch, it definitely helps to be completely comfortable with the intricacies of Word.

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

The first client found me, and since then it’s been via my website and word of mouth.

5. What do you most enjoy about the work?

I love checking facts and rewording for the non-medical reader. I also enjoy the variety the reports bring to my work: they range from 20 pages to 80 pages so can make a welcome break from a 400-page academic book.

6. What are the particular challenges?

The main challenge is the depth of work that needs to be done (all very accurately, obviously) with a quick turnaround because clients often want their reports instantly! I have a long checklist that I work through so even when reports are well written, there’s still an incompressible length of time required for each one.

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

If you have the medical and legal background, then it’s the same as for any specialism: get yourself out there and tell the right people what you do and how you can help them.

8. What is the pay like?

The pay is usually better than for the big publishers, but, because of the detailed attention each report needs, I find it works out a little lower than the rates I usually earn for most business clients.

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

I’ve been asked to present a workshop on writing medicolegal reports at a conference of medicolegal experts. The thought is pretty daunting so I may offer instead to prepare a written document that experts could work from. Much less scary!

Etty Payne, a black-and-white photograph of a light-skinned person with brown hair.Etty Payne (Elegant Words) is an Advanced Professional Member of the SfEP, specialising in international development, health/medical documents and anything to do with dogs and photography. She loves quizzes and generally finding answers to questions, but the question she finds hardest to answer is ‘Where are you from?’: she was born in Morocco with Venezuelan nationality, grew up in Brighton, went to university in Wales, got married in Norway, lived for many years in Paris, Strasbourg, Lisbon and Brussels and now lives in Hampshire.

You can find Etty on Twitter and LinkedIn.

Proofread by CIEP Entry-Level Member Karen Pickavance.

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

 

How to maintain good boundaries with freelance clients: Learning to say no

A cartoon speech bubble with "No, thank you!" written inside in black type.We’re in the business of saying yes … but just as important can be knowing when to say no – some projects may just be more trouble than they are worth. Here are some warning signs to look out for so you can maintain good boundaries with your freelance clients:

 

  • An unreasonably long test

You have to decide what you consider unreasonable, of course, and it may depend on how much you want the work, and how much work you stand to gain if you’re successful. Bear in mind too that taking a test can be a brilliant way in if you are starting out, as it effectively gets around the need for experience to prove yourself.

  • Refusal to stay within acceptable boundaries

Is the prospective client emailing you every half-hour with queries, or demanding instant answers? Do they telephone you outside normal working hours? This lack of regard for your time can signal a potentially problematic working relationship.

  • A large or complex project offered for a flat fee

We often hear that per-page or per-word rates are best because they reward efficient working practices. But be wary of taking on a long or very complicated job on this basis, unless you have worked on something similar for that client before. If you do proceed, aim to build in agreement from the start that the budget will need to be reviewed if the hours exceed a limit.

  • Unwillingness to discuss the budget

Refusal on the client’s part to commit to a figure, even when asked, is a bad sign. Negotiating can be difficult on both sides – but there still needs to be discussion and agreement about the cost before the job begins.

  • Refusal to agree project terms in writing

The contract for a project could take the form of an email or series of emails in which key details are agreed; it doesn’t have to be on paper, or even very formal. But you do need to have things pinned down; an agreement over the telephone or even in person won’t do, and you can’t refer back to it reliably.

  • Does the client fail to send the work on time, without warning or explanation?

If so, don’t feel you have to accommodate this. You may choose to, of course – it’s not unusual for projects to run late, and being adaptable can work in your favour – but don’t be bullied into working to their schedule if they show no respect for yours.

  • A sense that the project, for whatever reason, is not right for you

Learn to trust your instincts – they are very often right.

It can take time to learn when to say no, and even after years as a freelance editor, it’s still possible to get it wrong sometimes. What factors would make you turn a project down?

Posted by Liz Jones, The former CIEP (then SfEP) marketing and PR director.

Proofread by CIEP provisional intermediate member Gary Blogg.

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