Category Archives: Freelance life

Information for freelancers.

Freelancing job websites: are they worth it?

By Sofia Matias

At the beginning of our self-employed journey, we editors and proofreaders are, more often than not, overburdened with questions, but none perhaps more important than this one: where can we find work?

If we trust Google with answering that for us, the outcome is near-unanimous: most hyperlinks on the first page of results lead, in some form or another, to freelancing job platforms. They promise that ‘millions of people use [us] to turn their ideas into reality’ (Freelancer), that ‘we’ll make earning easy’ (Fiverr) or that they will give you ‘access to a stream of projects from our international client community’ (PeoplePerHour). But, with so many competing platforms – and millions of freelancers vying for the same jobs – is joining them a good idea?

As is the case with most aspects of self-employed life, what works for one person might not work for another, so ‘your mileage may vary’ is an appropriate sentiment to bear in mind. I know of several people who have successfully found work on these platforms, but my personal experience with them has not been the same. Here is what I learned from my time on these freelancing websites.

Fees, fees, and more fees

These websites are, of course, a business in themselves, so they must make money. Joining them is always free so there are no upfront costs to creating your profile on them, which makes for a good starting point for editors and proofreaders who are not ready to invest in, for example, building their own website or paying for advertisements. Even on the platforms where you can list your services as a product that interested people can buy outright, instead of bidding on listed jobs (such as Fiverr), doing so is free.

However, this is as far as the free lunches go. If you want to make your listings stand out, you can pay a fee to have them be featured on searches and reach more people, increasing your chances of booking work. This is not uncommon, but the point where some people might turn away is the one where, if you do get that all-elusive job, the platform will then take a cut of up to 20% from your payment. This, in conjunction with taxes and other fees (such as having to pay for the opportunity to bid on jobs, with no guarantee you will get them), can make earning a living on these job platforms an uphill battle (and definitely not as ‘easy’ as some of them claim).

High competition for little pay

With such high fees, you would assume that getting a job would be somewhat possible, right? Since it’s in their best interest to make money from you?

Again, your experience may differ, but if there is one thing that most editors and proofreaders agree on, it is that these platforms are filled with millions of people that can do (or claim to do) the same as you do, and who are more than willing to undercut your prices. In fact, you might even struggle to achieve fees that reach the UK minimum wage, let alone the CIEP suggested minimum rates. This is the main reason why I never booked a job on them: I had interest from buyers and personalised invitations to apply for jobs, but I did not want to work for less than my established fee, so I rejected them.

Remember, these platforms are worldwide, and what accounts for a low fee by UK standards can be perfectly acceptable in other countries (and the same applies to the standards of work produced). So, if you want to succeed, you might have to compromise what you are hoping to get for your work, or put in a lot more effort.

Opportunity to learn and acquire experience

Even though I personally never got work from any of the websites I was signed up for, I learned invaluable lessons that I successfully applied when it came to launching my own business. I realised just how important marketing is to succeed when self-employed and learned what to do and not to do when pitching my services.

For people who have an interest in editing or proofreading, but are not sure if it is the right career choice for them, these websites provide the opportunity to try it out without a sizeable upfront investment. For aspiring professionals who want to embark on full-time self-employment but do not want to do so without earning relevant experience, these platforms can be a good opportunity to get some testimonials under your belt, especially if you have another source of income and can be flexible with your prices.

The competition will still be there if you decide to create a business outside of these platforms – and can be just as fierce – so having a place to at least practise how you put yourself across to possible clients is a huge plus.

In short …

Not every editor’s journey is the same, so answering the question ‘are freelance platforms worth it?’ is not as simple as a ‘yes’ or ‘no’.

If you are considering looking for work or establishing yourself in any of these freelancing websites, at the very least do your research on which ones are more suitable for you and the work you offer, be fully aware of how they operate, and read reviews (from sellers, not buyers).

What they are not is a magical road to success, so be prepared to be flexible and put in the time and effort these platforms demand. They might just work for you and, if they do not, you can still learn valuable skills you can apply in your career as an editor or proofreader.

Sofia Matias is a professional writer, editor and proofreader based in the South East of Scotland. She specialises in working with independent authors of Young Adult and general fiction, arts and humanities students (including ESL) and businesses, charities and publications in need of clear and concise copy or editorial content.

 

 


The CIEP’s Pricing a Project guide describes the quotation process, from taking a brief to agreeing terms and conditions. This practical guide comprises tips, checklists and worked examples to assist not only freelancers but also clients who seek the services of editorial professionals.


Photo credits: Woman at desk by Andrea Piacquadio (Pexels); pennies by Josh Appel (Unsplash); person at desk with notes by Startup Stock Photos (Pexels).

Proofread by Kelly Urgan, Entry-Level Member.

Posted by Abi Saffrey, CIEP blog coordinator.

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

A week in the life of a book indexer

By Paula Clarke Bain

I have been an editorial freelancer for two decades, originally as a proofreader and copyeditor, and now primarily as an indexer, after training with the Society of Indexers (SI). I like being an Advanced Professional Member of both the CIEP and SI. I also love the variety of the job, but here is a glimpse into a typical working week as a book indexer.

Monday

I’m at my desk for 9.30 as I try to keep a working routine of pretty normal office hours. I worked from home already, and luckily that hasn’t had to change much this year.

Today I’m starting a new index. This job is unusual in that I also did the proofread for it, so I have had one good read over it before I start the index. If I come to an index fresh, I tend to do an initial skim-read of the book to begin understanding its content and structure.

Another different aspect is that this job is in InDesign. For a normal back-of-the-book index, I would work from a PDF of the page proofs on the left of my screen, and SKY Index software on the right. However, this publisher prefers an embedded index in InDesign. This has its own indexing facility, but I prefer to work with the Index-Manager program, which imports the InDesign text and allows you to build and edit the index properly while embedding the entries in the text.

A good start is made, considering that the first day is always slowest. To index, I start at page 1, line 1, and read and input entries as I go along. (Yes, we do have to read the whole book.) I consider the readers’ needs as I do this and the ‘aboutness’ of the book. What is this chapter/page/paragraph about? I add possible subheadings to large entries that will need breaking down further. The software sorts all this into alphabetical order as I input. I do not add page numbers for an embedded index, as these are automatically generated by anchoring entries at the correct point in the text.

In the afternoon, I hear back from another indexing job. The typesetter had a few minor queries for the author, which they check with me. I soon resolve these and that index goes to print. I am often commissioned by authors and I think this can work better than the traditional publishing scenario where indexer and author have no contact.

I down tools at a reasonable hour and assess how much I’ve done so far, and how long it might take to finish. This book is a history of liberal thought. I’ve input entries for the introduction and first two chapters today and I’m only up to the end of the English Civil War. It’s going to be a long week.

Tuesday

An early start for a full day of inputting entries. I want to get another four chapters done today so I need to focus.

I make sure to take regular breaks. I use an online Pomodoro timer, so focus for 25 minutes, take a five-minute break, and repeat, with a longer break every two hours. In my breaks, I might go on Twitter, which is my preferred social network. There are many indexers, editors, authors and publishers on there, and I have sometimes got indexing work directly through Twitter contacts. I’ll either peruse some tweets or look at the CIEP or SI forums for some freelance chat.

I receive an email offer of a future indexing job, but it’s for a busy time and it pays a poor rate, so I don’t pursue this further. I stay on some of these freelance lists as a cushion if nothing else turns up, but something invariably does.

It’s a day of revolutions in the reading: Glorious, American and French. Lots of names for sorting out, and a couple of love stories too: between Benjamin Constant and Madame de Staël (quite an eye-opener), and between John Stuart Mill and Harriet Taylor. Some of these entries will need to be like mini-biographies in themselves, covering early life, relationships, theories, works, etc. I’ll reconsider these at editing stage.

I’ve done the four chapters as planned and I’m on track. Hoping for similar tomorrow.

Using Index-Manager

Wednesday

Onwards with more of the same. Having already proofread the book, I know that there is some difficult material coming up, though, including world wars and the Holocaust. It’s all written well, and so important to include, but the content is obviously horrific. I index this as professionally as I can, but I’m relieved to finish those chapters. I take a good break after this and head out for a walk.

On return, I am offered a job by a regular client to update a previous index I did for them. The author has written some additional chapters, so I will need to proofread this material, index the extra chapters and incorporate the new entries into the index (much easier with proper indexing software). I’m happy to do this, the publisher is pleased (as it’s less time and less money than a full index), and I agree to take it on.

The afternoon indexing is an easier session – on post-war rebuilding, including the theories of Hayek and Keynes; quite a lot on national identity, particularly seen through Isaiah Berlin and George Orwell; the Cold War, Thatcher and Reagan; and general post-war economics, up to the 2007/08 financial crisis. It’s a wide-ranging book, this.

Another four complete chapters done today: good. Ten down, four to go.

Thursday

I aim to reach the end of the inputting today and make a start on the editing. During the day, my reading covers, among other things, identity politics, cancel culture, migrant boats, Brexit and Trump. Quite a combination.

I do finish inputting early in the afternoon. The last indexable page occurs earlier than the last proofreadable page, as we don’t generally index the acknowledgements or references/bibliography sections, and endnotes are only indexed if they contain significant information.

And so the editing stage begins. I generate the index in a copy of the InDesign file and put it into the desired format (usually two columns in a smaller font than the main text). I can then see how long the ‘raw’ index is, and how much editing I have to do. The unedited index is 40 pages, and the publisher wants it to be 20 pages maximum. This should be fine. I go back into Index-Manager, as its editing facilities are superior.

I pick out some easy edits today – mainly removing unnecessary subheadings where the main entry only has about six page numbers. This starts saving a lot of space, as an entry with subentries over several lines can be quickly made into a main entry of one or two lines.

As I’m where I wanted to be, I decide to clock off and tackle the editing with fresh eyes and a rebooted brain in the morning.

Friday

Up with the lark and raring to go. The editing stage is when the index properly takes shape and where a lot of the thinking work is done. On this pass, I start from the ‘A’ section and look at each entry, considering whether it should stay in (if not, out it goes, or it’s marked as a potential deletion) and if it is correct or needs some work.

I made some notes to self while inputting – marking with tags such as ‘??’ when there’s something to look at again. At the end, I search for these to make sure I have resolved them all.

I see some unusual entries, which I try to retain, as it makes for a more interesting index. Here are entries such as ‘sans-culottes’ and ‘shit lists’. The former will stay. The latter could come out, but as this author is renowned for their colourful language, I feel it’s fair game. I’m also keeping ‘Cecil the lion’, because he’s worth it.

An entry with many subheadings will take the longest time to sort. Are all the subheadings needed? Can some be combined with others? The main characters in the book are in this category. The same goes for concepts (eg doubt, freedom, identity, liberty, truth, will) and ‘-isms’ – communism, fascism, individualism, nationalism, socialism, etc. This is the bulk of what the book is ‘about’, so it’s important that these work.

I often leave the ‘metatopic’ entry – the subject of the whole book – till the end. Some say that this should not have an entry at all, as everything relates to it, but I do tend to include one as a basic overview. The metatopic here is ‘liberalism’, so I deal with this entry last.

After working through the entries from A to Z, I regenerate the index in InDesign to check for length. It’s 18 pages, so I’m happy with that. I now print out the index for a final proofread (using proper proofreading marks). I spot different things on hard copy, and it gives me a better feel of the reader experience of the index.

I make any tweaks and generate the final index. One last check and I submit the whole proofread and indexed InDesign file to the publisher, with index entries embedded in the text and a generated index list at the end.

Then I await index approval before submitting my invoice. An author may request minor changes, which the indexer should amend, as they understand the index structure and how other entries might be affected. In this case, I’m glad to hear that author and publisher are happy with the index, and off the book goes to press.

So, there is a fairly typical week in the life of this book indexer. I love my job and I feel lucky that I can disappear into a good book every working day. I have seen the joy of indexing being compared to a word game or jigsaw. It is most satisfying to figure out the best index solution for each book. Next week will be a different puzzle again.

Paula Clarke Bain is an Advanced Professional Member of the Society of Indexers and the Chartered Institute of Editing and Proofreading. She tweets as @PC_Bain and her website (with comedy book indexes blog) is www.baindex.org. Find the Society of Indexers on Twitter @indexers and www.indexers.org.uk.

 


Photo credit: calendar – Emma Matthews Digital Content Production on Unsplash

Proofread by Andrew Macdonald Powney, Entry-Level Member.
Posted by Abi Saffrey, CIEP blog coordinator.

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

CIEP social media round-up: June and July 2020

In June and July the CIEP looked to create, as well as curate, our social media content.

A CIEP commitment to anti-racism

In June, the CIEP – like many other organisations – sought to respond meaningfully as we reached a tipping point globally: a point at which anti-racism demands more of us than lip service to dismantling structural inequality. On 5 June, we published A CIEP commitment to anti-racism across our social media channels, setting out five steps that the CIEP will take to contribute to change.

‘As editors and proofreaders,’ we noted, ‘there is so much that we can each do to make space for and amplify voices that have historically been and continue to be marginalised and silenced.’ A warm reaction on Facebook (87 likes/loves and 14 shares), Twitter (71 likes and 25 retweets) and LinkedIn (117 likes/loves/applause) demonstrated how keenly this resonates. Both privately and publicly, members expressed emotion at being part of a membership eager to take action; some followed up swiftly on this commitment, forming a working group to translate the CIEP’s words into practice.

Throughout June, the CIEP social media team curated relevant content, including Do the work: an anti-racist reading list, and promoted Black voices, spanning #PublishingPaidMe, a campaign asking authors to reveal their advances and expose race-based pay gaps, a call from the Black Writers’ Guild for sweeping changes in UK publishing and a celebration of Reni Eddo-Lodge’s success as the first Black British author to top the UK’s official book charts. We also shared Alex Kapitan, the Radical Copyeditor, explaining why saying ‘All Lives Matter’ makes things worse, not better, Sophie Playle’s thoughts about how to avoid unconscious bias in your creative writing, and a list of 5 steps freelance editors can take to combat racism. And these efforts continue, the CIEP’s social media being key to our commitment ‘to [seek] out and [amplify] BAME voices and the voices of editors/proofreaders of colour worldwide’.

All the free stuff

As we went into July we continued creating social media content by publicising a range of free-for-everyone and free-for-members fact sheets and focus papers across all our platforms, including a love letter to editing cunningly disguised as a focus paper by our honorary president, David Crystal, called ‘Imagine an editor’. This was popular with our audiences, but we also found that explainers, such as ‘Training for proofreading or copyediting’ and ‘The publishing workflow’, went down well too.

 

Of these, our fact sheet on ‘Proofreading or copyediting?’, which could be used to explain to clients the differences between the two disciplines, went down a storm. We also posted CIEP quizzes 1, 2 and 3 across our platforms, in case any of our audiences had missed them. These got a particularly good response on LinkedIn, with ‘pub quiz’ participants comparing scores and one follower commenting: ‘Fun and educational every time 😊’.

Never forgetting our bookshelves, or the location of the toilet

Pieces on bookshelves, how to organise them, and the books we put on them are always popular with our audiences. In June and July we offered articles (some from the archives) on a bookshelf illusion mural in Utrecht; a list of all the ways to organise your bookshelf, including using the Dewey Decimal System; organising books by colour only; (if more inspiration were needed) how 11 writers organise their personal libraries; and (if all else fails, presumably) the artistic arrangement of books around a person or persons in order to recreate a series of dramatic scenes.

We also took a virtual trip to a writer’s studio in a garden, which could just as easily have been an editor’s studio, we thought (or hoped). One Facebook follower asked: ‘Does it have a toilet? Not going in the bushes …’. Apparently it does, but it’s concealed behind a secret panel. Here’s hoping it’s easily found in moments of need.

Talking of virtual trips, our Facebook followers made the role of books in their lives very clear when, on 1 June, we posted a link to a story about how Covid-19 is forcing authors to change their novels in ways such as avoiding references to flying and including details such as temperature checks. ‘I want to read about a world that’s not burning and going down the drain. I read to escape, not to be reminded that I can’t leave the house’ posted one follower. Oops. Luckily, later in the month we had the opportunity to share an article listing ‘50 brilliant books to transport you this summer’, and then even later (in July) to introduce our audiences to a piece that reviewed novels as if they were travel destinations. The reviewer of Les Misérables, in ‘A misérables trip to Paris’, advises ‘If you’re going to visit Paris, don’t go during revolution, I’d say, or at least don’t bring the kids’. Wise words indeed.

Loving letters

Another thing guaranteed to transport you is a simple handwritten letter, and during lockdown people have been turning to this lo-tech but lovely form of communication. We shared a story about a Colombian library’s campaign to spread positivity through anonymous letters, and a New York Times piece (restricted access) reminding us of the value of letters in these email-soaked days: ‘I do trade big, juicy emails with some people in my life, but receiving them isn’t quite the same as slitting open a letter, taking it to a big chair and settling in for the 20 minutes it takes to devour it’. We were also reminded of the value of using letters in marketing, with a Throwback Thursday blog by Louise Harnby which urged us not to forget the old ways.

Time for fun

As ever, we made space on our social media platforms for fun items, such as Futuracha, the font that changes as you type. And for anyone who has trouble remembering the difference between ‘born’ and ‘borne’, and ‘affect’ and ‘effect’, we posted the clever homophone artwork of Bruce Worden of Homophones, Weakly. Finally, ‘Words we know because of Star Trek’ went down well. So, until the next social media round-up, we send you this sincere wish: live long and prosper, friends.

Don’t miss a thing in editing and proofreading. Follow us on Facebook, Twitter and LinkedIn.


Photo credits: letter and coffee – Freddy Castro on Unsplash

Proofread and posted by Abi Saffrey, CIEP blog coordinator.

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

Uncovering the value of your work

By John Niland

In a recent conversation, a copyeditor posed the following question: How can I justify a higher rate, when I’m ‘just’ being asked to review a couple of thousand words of text?

I hear a similar question nearly every week, from accountants, lawyers, web designers, video producers, trainers … all professionals who are constantly being asked to ‘just’ do something. Indeed, I sometimes wonder if certain clients use the word ‘just’ to devalue a job, even before a professional ever gets to quote for it.

Nevertheless, I had to issue a gentle challenge to my copyeditor friend. It is apparent to me that she is already doing more to devalue her work than her client is. Can you see how?

You may wish to take a moment to reflect back before reading on. What’s the problem with the way that she is looking at value?

Context

Value is all about context, as the following story illustrates. A father once said to his son, ‘You graduated with honours. As a reward, here is a car I acquired many years ago. It is now several years old. But before I give it to you, take it to the used-car dealership and tell them I want to sell it and see how much they offer you.’ The son went to the used-car place, returned to his father and said, ‘They offered me £1,000 because it looks rather old.’ The father said, ‘Take it to the pawn shop.’ The son went to the pawn shop, returned to his father and said, ‘The pawn shop only offered £100 because it is such an old car.’ The father asked his son to go to a car club and show them the car. The son took the car to the club, returned and told the father, ‘Some people in the club offered £50,000 for it since it’s a Nissan Skyline R34, an iconic car and sought after by many.’

In the usual telling of the story, the father then lectures his son: ‘The right place values you the right way. If you are not valued, do not be angry, it means you are in the wrong place. Those who know your value are those who appreciate you. Never stay in a place where no one sees your value.’

Extrinsic value

So far, so good. However, there is a more fundamental point to this story: that value is extrinsic (ie based on context), rather than intrinsic (ie based on content). It’s not the condition of the metal that defines the value of the car, any more than the quantity of text defines the value of the copyediting job. It’s not the age of the car, any more than it’s the age of the copyeditor. Nor is it even the mileage of the car, any more than it’s the experience of the copyeditor.

The copyeditor is looking in the wrong place to find her professional value. As professionals, we will never find our full value in the content of our work: it’s the context that makes our work valuable. Needless to say, this distinction often produces howls of protest from purist practitioners. ‘What! No! It’s the quality of my writing / design / coaching etc that’s the key to my value!’ Well … not really. Most clients see quality as fitness to purpose and the value of that purpose lies squarely in the client’s world (context) … not in your content. No matter how good your content is.

Let’s walk through another illustration. Two web designers draft identical webpages: same text, same images, same design, same call-to-actions. One of those pages sits on a busy site, on a ‘crossroads’ often visited because of links from partners and associates. The other page is part of a standalone website, rarely visited, with no links. Which page has the most value? Which page would you spend most money to enhance?

Not content

Value depends on context, not content. When I work with my professional clients to fully master this distinction, it’s often quite liberating. They become much more fluent in the issues of their chosen client world; hence more compelling in first meetings. Their time-management improves – often quite dramatically – as they align their hours with the value added by their work. Over the course of a few months, they often learn to double and triple their fees, because they are no longer competing with generalists and instead can point to the true benefits of their unique value-centred approach. Younger professionals learn that they don’t need to first amass years of experience, but can differentiate themselves early on in their career, simply by becoming masters of context, not content.

There are many practical skills to learn here. Let’s look at some opening questions that our copyeditor friend might ask, to focus on the context (rather than the content) of her work. Here are some examples:

  • How will the client judge the success of this project?
  • Who will be making that assessment? When and how?
  • What impact could this project have on sales/engagement/signups, etc?
  • What’s their experience/history so far? What happened last time they tried to engage someone like me?
  • What other initiatives are going on that we should take into account?

You can quickly craft some of your own questions, to fit your style and market. As a rule of thumb, ask yourself if your questions are about them and their world, or about you and the work you are being asked to do. If it’s the former, you are well on your way to uncovering context, wherein lies the real value of your work.

Of course, there are challenges along the way. There are clients who block professionals from context. There are agents and middlemen who could not care less. There are last-minute clients who constantly suffer from hurry-sickness and just don’t have time for a value conversation. This is when your own self-worth is vital. Whatever happens, you know you don’t belong in a place where people don’t want to see real value. So find better clients and move on.

© John Niland, August 2020

John Niland runs regular webinars for professionals to improve the value of their work. See www.selfworthacademy.com/webinars/ for the current schedule. John’s book ‘The Self-Worth Safari’ is available on Amazon.

 


The CIEP’s Pricing a Project guide looks at preparing quotations for editorial work.


Photo credits: Plant in coins – Micheile Henderson; Nissan Skyline – Ondrej Trnak, both on Unsplash

Proofread by Emma Easy, Intermediate Member.
Posted by Abi Saffrey, CIEP blog coordinator.

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

How to be a freelance introvert

By Tom Albrighton

Freelance editing is an ideal occupation for introverts. But if you want to make a success of freelancing, you’ll need to overcome some challenges too.

Are you an introvert?

If you’re happy on your own for most of the time and prefer working alone, the answer’s probably yes.

The word ‘introvert’ is from the Latin intro, meaning ‘inside’, and vertere, meaning ‘to turn’. So an introvert is someone who tends to turn inwards, towards their own thoughts and feelings, rather than outwards, towards other people or external events. While extroverts get an energy boost from being in company, introverts draw theirs from solitude and quiet.

Being an introvert isn’t quite the same as being shy. Shyness is about being tense and awkward in company, sometimes unbearably so – and even extroverts can feel that way sometimes. In contrast, introverts can deal with company if they have to. They just prefer not to – at least, for much of the time.

Introverts at work

Being an introvert is fine, as long as you have choices. But that can change when you get to work.

Open-plan offices, team working, brainstorming and many other modern workplace trends are fine for extroverts, but tough on introverts. The effort to fit in and take part demands emotional labour from introverts, on top of their actual work.

It’s ironic, because your work is probably still done alone. Editing and proofreading, for example, are solo tasks. But because of the nature of the workplace, there can be a tension between where you work and how you work.

Although I generally call myself a copywriter, I’m really an editor by trade. I began my career as a lowly assistant editor, checking calendars for a trade publisher, and eventually graduated to editing non-fiction (mostly guidebooks).

Along the way, I worked with plenty of freelance editors and proofreaders. I often envied them, because while they obviously had an introverted character that was very similar to my own, they didn’t have to put up with working nine to five in a busy office. Instead, they got to work in the quiet and seclusion of their own homes, where they could bring their full concentration to bear on their work.

At that time, I couldn’t see how they’d done it. How had they gone from the hamster wheel of employment to an enjoyable, plentiful freelance life?

Upsides and downsides

A few years later, when I went freelance myself, I began to understand what it’s like to run your own freelance business. And I also saw, at first hand, how being an introvert can both help and hinder your progress.

On the plus side, working at home was everything I’d hoped for. No maddening noise, no trivial chit-chat, no interminable meetings, no tedious office politics. The chance to work in an environment that I controlled, at hours I chose. And, in theory at least, the freedom to work on whatever projects I wanted.

However, I also saw the flip side of the coin. While the upsides of freelancing are indeed great for introverts, the challenges can be tough.

For instance, I learned first-hand what it’s like to build up a roster of freelance clients from scratch, and how galling it can be to compare to yourself others who are further down that road.

I saw that it’s difficult to market yourself and set prices when you’re naturally retiring or diffident. Building a network when you prefer solitude is hard work. And when you have a strong tendency to sit and reflect on problems alone, you sometimes struggle to resolve issues that would really benefit from outside input.

Managing clients, gaining confidence

I also realised that although I no longer had a single boss, I now had lots of mini-bosses, whose demands I had to balance and prioritise. I experienced the distress of clients playing hardball on price when I was struggling for work. And inevitably, I collided with the small minority of clients who are unreasonable, timewasting or downright rude.

What’s more, it’s hard to listen to your instincts about rogue clients when you’re used to overriding your own unease in social situations. It’s even harder to turn work down when you prefer not to rock the boat. And it’s upsetting when clients move on, because your natural introvert instinct is to hold on to relationships rather than forge new ones.

While introverts aren’t necessarily lacking in confidence, I have personally found that building confidence is vital. There are several ways to do that – and they don’t have to involve making huge leaps outside your comfort zone. You can also consciously change your beliefs and explanatory style so you favour more positive and productive interpretations of events.

Overall, freelancing has been great for me, and I’d always encourage people to give it a go. You just need to go into it with your eyes open, and understand that while some aspects of it will come naturally, others will take some work. Put that work in, and you’re well on the way to becoming a successful freelance introvert.

Tom Albrighton is a freelance copywriter and author. His latest book, The Freelance Introvert, is available now in paperback and ebook. Find it at Amazon UK, Amazon US or your local Amazon store.

 

 


As we adjust to a slightly less locked-down life, introverts may find themselves needing to re-establish some restorative niches (which aren’t just for conferences).


Proofread by Alice McBrearty, Entry-Level Member.
Posted by Abi Saffrey, CIEP blog coordinator.

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

CIEP social media round-up: April and May 2020

Two of the strangest months in memory, recorded through our social media accounts

Times such as these are tricky for a social media team whose focus is on publishing and freelancing. As with pretty much everything right now, long term we don’t know what COVID-19 might mean for publishing, the book industry, or editors and proofreaders. We entered April 2020 wondering what we could communicate to our audiences on a day-to-day basis. Too much doom would be unhelpful. Too much levity would be unwelcome. What to do? Like so many others, we took each day at a time.

Silver linings

But heartening developments emerged, at least where publishing was concerned: increased book buying during lockdown, and the appearance of online book festivals and other events, with the Hay Festival, from 18 to 31 May, presenting an impressive array of personalities including our own honorary president, David Crystal. (David also starred in Mark Allen’s new podcast, That Word Chat, on 11 May.) Online events, by their nature, could include many more people than would have attended physically. ACES, the society for editing in the US (@copyeditors), took its conference online with #ACES2020Online on 1 May, and we were promised great things by SENSE, the Society of English-language professionals in the Netherlands (@SENSEtheSociety), whose online conference was to take place in early June.

Revising our lexicon

We covered the updating of dictionaries that the coming of COVID-19 required, so that editors and proofreaders were informed about how to refer to the virus. We posted articles about new terms such as quarantini and coronacoaster, and terms that were gaining popularity such as infodemic, as well as whether we were using older terms differently now. We reminded our followers of the differences between similar terms we were now using a lot, such as hoard and horde (‘There are hordes of people hoarding toilet paper’, one Facebook follower observed).

Keeping up with tech

Video conferencing packages are now part of our lives in a way they never were before. We covered Zoom in various ways, from why Zoom makes you tired to sports commentator Andrew Cotter’s Zoom meeting with his two Labradors: a treat. Meanwhile, Cambridge Dictionaries introduced us to new video conferencing terms like zoombombing, zumping and teletherapy. Merriam-Webster noted the coining of two news-and-phone-related phrases: doomsurfing and doomscrolling.

Shelf isolation

More attention is being paid to bookshelves in these Zoom days (see ‘Bookcase Credibility’, @BCredibility, an account launched in April that comments on the bookshelves of various public figures). Of course, at CIEP we appreciate a good bookshelf (and a good book nook, a scene or figure that can be placed between shelved books). On 25 March we had proved ourselves ahead of the curve by asking our Twitter followers to #ShowUsYourShelves. To fill these shelves still further, during April and May there were a number of articles and postings about the books we could read in lockdown, to comfort us, return us to our childhoods, inspire, uplift or offer us escape, or simply to get us through. We enjoyed artist Phil Shaw’s ordering of books to tell a story with their titles, something that Orkney Library (@OrkneyLibrary), now temporarily closed, had often done for its 70K followers. And, remaining with libraries, the true story about the cleaner who rearranged the books in a library in size order – oh, horror! – inspired sympathy and hilarity in many.

Actors available

Suddenly, actors and other artists had time on their hands and were doing impromptu readings and recitals. Jennifer Ehle, Elizabeth Bennet in the famous BBC 1995 adaptation of Pride and Prejudice, read the novel chapter by chapter, and we shared this on Twitter on 6 April. Andy Serkis read The Hobbit online for charity. @SirPatStew (Sir Patrick Stewart) read a Shakespeare sonnet every day until 22 May. Our post announcing this got 83 likes and 33 shares from our delighted Facebook followers.

Home comforts

Of course, we editors and proofreaders are, for the most part, well used to all aspects of working from home, from furry assistants to endless tea or coffee drinking. And, alas, with beverages occasionally comes spillage. One of our most popular posts on Twitter was about an artist who made coffee stains into illustrations of monsters. There were a lot of them. Boy, was he unlucky with his coffee.

Funnies, Friday or otherwise

If you’re a devotee of the CIEP Facebook page, you’ll know that there’s a Friday Funny at about 4pm every week to send everyone off into the weekend with a smile. These are often comic strips by book-appreciating illustrators such as John Atkinson or authors who understand the trials of working from home such as Adrienne Hedger. When we’re very lucky, the legendary Brian Bilston releases a poem. His ‘Comparative Guidance for Social Distancing’ got 160 likes and 105 shares on our Facebook page, and it wasn’t even posted on a Friday. Sometimes the stars align and there’s a cat-and-books story we can post at the end of the week. Such an event took place on 22 May, when we enjoyed Horatio, a cat who wears (or, really, bears) costumes to promote his local library. As one Facebook user commented, ‘That is a patient cat.’ Truth.

Lockdown LinkedIn

We only started posting our blog-based LinkedIn content regularly last June, and since we passed the 10,000 followers mark last August our followers have increased again by another 8,000. Since lockdown, engagement has reduced as many of our followers seem to be working parents who are grabbing opportunities to work while suddenly morphing into teacher mode. During April and May 2020, posts that proved popular included: Denise Cowle’s week in the life of an editor (more than 8% engagement rate and 45 likes), a post by Intermediate Member Hilary McGrath sharing tips for staying motivated when starting a course (more than 4% engagement rate and 38 likes) and, showing reading-related content is our bread and butter, Abi Saffrey’s post about evaluating her year in books (more than 5% engagement rate, 32 likes and 8 comments).

Rounding up the round-up

During April and May 2020 on the CIEP’s social media, the emphasis was on editors and proofreaders looking after themselves, diverting themselves, keeping informed and looking for light where it could be found. As ever, our social media was overwhelmingly about support. We got a new emoji on Facebook – ‘care’, the usual little yellow head hugging a heart. Gotta tell you, it’s coming in useful.

Don’t miss a thing in editing and proofreading. Follow us on: Facebook, Twitter and LinkedIn.


Photo credits: wall emojis by George Pagan III; cat by Andrii Ganzevych, both on Unsplash

Proofread by Victoria Hunt, Intermediate Member.
Posted by Abi Saffrey, CIEP blog coordinator.

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

Relative density: kids and coping in the time of COVID-19

By Cathy Tingle

It’s Tuesday. I was supposed to write this blog yesterday. According to our COVID-19 routine, on Mondays my husband runs ‘school’ for my two children, aged 7 and 9. But yesterday the kids were particularly restless. They didn’t want to do the tasks set by their teachers. The younger one kept interrupting me in my ‘office’ (bedroom). There was a lot of shrieking as they chased each other around the house. Add to that the summons to buy our possessions back at their ‘shop’ (I couldn’t miss that: there was an iPad going for 45p), a surprise Zoom meeting for my husband, and some complicated new logging-on process for online school followed by my son sending his friends excited greetings (which had to be typed, finger by finger, on my laptop), and my day was pretty much shot to pieces as far as writing was concerned.

Hello again, old routines

We parents are used to the feeling that our best-laid work plans are precarious. You might be halfway through editing a chapter and the school phones to say your daughter has a tummy ache and can she be collected. You could plan an evening of proofreading but your son decides now is the time to find getting to sleep difficult. It goes with the territory.

But this prolonged uncertainty about when we can work is new for most. Or, rather, it’s a revisiting of something many of us experienced when our kids were tiny. In a recent CIEP forum thread about parenting, members described a common pattern. As a newish parent, to find time to work you rely on nap times, evenings and weekends (the last if there’s a partner or other co-carer to share the load). A little way along the line you can then add the hours that playgroups and nurseries might give you (sometimes only a couple of mornings a week, but it’s something). CIEP members reported having to take laptops or study books on family holidays.

The long and winding quest for productivity

Then, one blessed day, they get to school. Once you’ve got over the surprise that a day at primary school isn’t actually as long as you thought, and realised your most productive times of the day are not during those six hours (one of our editors only really hits her stride at 2.30pm – she has to leave the house to fetch the kids at 3pm), you get the high school years. The kids can at least find their way to school and back, but transporting them to extracurricular activities might take time. And at home? ‘The younger one [14] does seem to feel the need to talk to me about random things when I’m trying to work’, one of our editors reported. Another, whose children have now left home, comments: ‘What I learnt was that a 5-second question requiring only yes or no would cost me 10 to 15 minutes’ work. That was how long it took before I had everything back in my head.’ Bear this in mind when you’re thinking, during these lockdown days, ‘My teenagers don’t require a lot of attention. Why on earth aren’t I more productive?’

So, while we’re required to use ‘school’ hours to educate our children ourselves, many of us are grabbing evening work, weekend work, first-thing-in-the-morning work, as we did in the early years, and as many of us still do in the school holidays. One CIEP member with three children starts working at 5.30am; another uses the hour before the family stirs to answer emails and prioritise her day’s work to avoid stress later. Sometimes there is a tag-team within the parent unit, with one parent covering mornings, the other afternoons, or, if the other parent lives somewhere else, with children going away for a couple of days or more each week. If all else fails, we’re sitting with everyone else with our laptops, snatching ten minutes here and there.

No answers, just a few tips

Many people choose to become freelance precisely because of the flexibility it offers when you have a family. But many editing and proofreading parents are finding lockdown difficult, and it’s not the bare fact of spending more time with our children that’s making us feel like this – of course not. We love them. It’s the pressure of balancing working and caring that’s the problem. If we get paid by the project and don’t have time to complete projects, or we’re paid by the hour and our hours are vastly reduced, how’s that going to work out? It’s worrying, and we don’t have any clear answers, apart from to investigate any government support for self-employed people during this crisis. But here are a few tips for negotiating work and life right now.

  • If you have work, make sure your clients know your situation. Many of them will be in the same boat and will understand, but at the very least it removes the terrifying feeling that you have absolutely no wiggle room on your projects. You might not need to ask for extra time, but knowing you could in an emergency helps everyone.
  • This isn’t the time to be aiming high, so don’t put pressure on yourself to be marketing or rebuilding your website. Don’t listen to those people who talk about achieving great things in lockdown. The achievement level you should be aiming for is ‘coping’.
  • Easier said than done, but if you can, separate work and caring for your children. We often feel we do neither very well, but trying to do them concurrently just confirms this feeling.
  • If you do get a quiet few moments while they’re doing their maths worksheet or drawing a flower, tackle those mundane tasks that might help your business. Personally, I’m deleting old emails. It’s something I’ve been meaning to do for forever and it will be useful once we’re all up and running again not to have (cough) 45,958 unread messages in my inbox.
  • Screens aren’t the enemy. From the BBC Bitesize educational programmes to the fantastic Horrible Histories and Operation Ouch!, telly can educate, entertain and buy you some valuable time, and there are a wealth of online museum tours, story readings, science demonstrations and language tutorials too. It doesn’t need to be highbrow – kids will find educational opportunities in most things. When I sought reassurance that there were educational benefits to the Captain Underpants Movie, another CIEP member testified that her son had gained three things from it: an enthusiasm for writing comic books; an introduction to classical music; and an ability to execute armpit farts. All of which will be invaluable when filling in his UCAS form, I’m sure you’ll agree.
  • Take that #StetWalk, as we say in the editing world. Get out for your daily exercise with your child(ren), whether you feel like it or not. It will do everyone good, and the break from work may mean you’re more productive this evening when things are quieter.
  • When you do try to work, don’t beat yourself up if you can’t concentrate very well. This is a completely natural reaction to everything going on in the world, and something that was reported by a number of CIEP members.
  • It might be that we can accomplish more together than apart right now. Reach out to others you could team up with. One member says that one of the lessons she has learned over many years is that ‘some of the most valuable things I do in my business are not done alone; they’re shared’.
  • Sneak off now and then. Not out of your front gate: to the kitchen, or the garden, or into your own choice of fiction, or a podcast. Too often I find myself retreating to Twitter, and that ends up being far from a moment of peace. Find other ways to escape, if you can.
  • As you’ll all be living under the same roof in these conditions for some time yet, try to focus on what matters. As one member says: ‘being extra kind is more important than ever, and remembering that it really, really doesn’t matter whether they learn their grammar or long division is helpful’. Another says: ‘Every single night that your little one goes to bed fed, warm, well, and loved is not failing, whatever else might be going on. Be kinder to yourself.’
  • Get them involved in what you’re doing, if you think it will interest them. My kids have helped me find the pictures for this blog, and for the first time ever they’re helping me lay the table for meals. They even seem to enjoy it.
  • Sometimes you’ve got to throw your plans up in the air and take the opportunities life presents. And if life is presenting you with a child who wants to sing ‘The Wheels on the Bus’ with you, cuddle up in front of a movie or have a chat about Instagram (or whatever young people talk about these days), just enjoy the moment and the chance to spend some time with them.

More than one of our members reported that home schooling had been their way of life even before COVID-19 struck. They’d been down a similar path to the one many of us are now treading, and had realised that, in one editor’s words, ‘what I’d feared would be strange and isolating and terrible turned out to be none of those things. My child has blossomed, found their own path, and taught me that there are many ways to live a life, to be a parent, to educate’. Some situations might not look ideal at first glance, but they end up being rewarding in ways we never anticipated.

And so, working-from-home parent, in the words of one CIEP member addressing the other parents on the forum, ‘hugs and solidarity vibes’ to you. We’ll get there, even if it’s by a different route to the one we were expecting.

Many thanks to the contributors to the CIEP forums, who so generously shared their experiences and their child-squeezed time.

Cathy Tingle is a CIEP Advanced Professional Member based in Edinburgh who specialises in copyediting. After trying and failing to work ‘alongside’ her children, she’s offering a reduced service until they go back to school. She’s terrible at baking.

 

 


The CIEP’s forums are a great place for members to connect with and support each other.

CIEP members shared their pandemic concerns and experiences with Liz Jones in April.


Photo credits: family with tablet by Alexander Dummer; child with heart by Anna Kolosyuk, both on Unsplash.

Proofread by Joanne Heath, Entry-Level Member.
Posted by Abi Saffrey, CIEP blog coordinator.

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

Know me, pay me

By Robin Black

Working in the shadows of nearly every project, editors could do with a bit more public understanding. ‘We don’t have much of a budget,’ invokes the client, though I wonder about companies that don’t have the budget to be good. Who sets a budget to be bad?

Show me a copy-editor and I’ll show you a living combination of robust general knowledge, an eye for detail that won’t quit, and a flair for the metaphysical. (You try rearranging the words so readers are visibly moved by the end.) Do you care that your editor detects that a particular adjective can make two appearances in a single chapter but not three or four? Either way, you should absorb the manuscript, whether it’s a white paper, a website or a manual, without tripping over such infelicities. In that sense, you should forget about us.

But not so much that we’re taken for granted when it comes time to employ our services. I’m uncomfortable about driving home the point, however: surely there’s scarcely a métier out there whose adherents don’t feel misunderstood and underappreciated from time to time? Lawyers, for example, lament that they could do more to help if only they were consulted before things go haywire. The stewards of the Southwark Household Reuse and Recycling Centre, where a maze of conveyor belts criss-cross in improbable fashion, aren’t asking you to rinse out your discarded materials for their health; it gums up the system, slowing down the work of nearly everyone on the premises. And in the face of a public that doesn’t listen, the distinct burdens of climate scientists weigh heavily: armed as they are with the science that impinges on you and you and you, they can scarcely daydream about escaping to New Zealand any more. (A desperately hungry populace tends not to care overly about property rights.)

It is with gentle misgivings about self-centredness, then, that I invite you to turn your attention expressly to editors, for whom the information imbalance translates into high demands for humble pay. I self-select out of some of the worst of it by rejecting low-paid jobs and seeking out the clients who feel as I do about a job really well done. And while quality is its own reward, equally, someone out there wants to pay for that quality, and my idealistic mind aims to keep finding them.

But then my sister called. Her website needed some tidying up, and she’s a pragmatist: ‘Let’s just do what we can in the time we’re given and get this crap out the door.’ So much for my idealistic mind, I thought. I demurred, and she rolled her eyes and politely dropped it.

Should I have just sidestepped my standards and been helpful? For the answer, I look to the guiding principle of 28th annual SfEP conference: ‘It depends.’ When newbies jump on the forum to ask for feedback on their websites, I may steel myself ahead of reading those threads because the general positivity of our members, which I laud and cherish, means the critiques veer towards the reliably panegyric instead of the helpfully critical.

I’m quite unsure whether that’s a bad thing, however, though I admit to a little frustration, and indirectly it has to do with money.

Ugh, money. I’m one of those people who is uncomfortable talking about it, likely to my own detriment, so let’s get this over with: the choice I make not to list my rates on my website – I never discuss fees until the client expresses an interest in hiring me – maps onto the editor and business person that I am. My approach is to psychologically leverage clients with my chat, my bearing and my materials, only to strike with a generous payment suggestion once the iron is hot. But such wiles could go awry in the absence of the rest of me – which is to say that my approach comes off naturally and therefore honestly from me, but grafting it onto you is iffy.

For me to insist that you should never publish your fees on your website is glib, and besides, look at all those lovely, experienced editors telling you something different. I throw up my hands in friendly defeat, satisfied that everyone is acting in good faith as they post disparate advice, and I stay quiet.

And yet. There is an assumption among our members, which I share, that we concentrate on doing a very good job while employers exploit us with low fees and outsized projects at capped rates. Leaving aside my contention that no one should be taking lower than the CIEP’s suggested minimum rates (Glib? But I stand by it), I put to you this question: why would a client pay you professional rates when you’ve got an amateur public face? When clients move forward with unedited or poorly edited materials, as is their wont, how long can you stay indignant when your own website is untouched by proper design and typography?

We prize words over images, but our Venn diagrams may or may not overlap with those of potential clients, so see it through their eyes, and subdue your inclination to tell them everything! that! you! do! well! As editors toil in the shadows and the public neglects to recognise the metaphysical power we wield boosting human connection through communication, nearly everyone appreciates a professionally rendered website. It makes budget holders relax.

Allow me to be mercenary for another moment: if you want to be paid properly as a professional editor, by clients with robust budgets, then hire a professional to craft your website. And for Heaven’s sake don’t talk them down in price if you want to be extended the same courtesy.

Look, the things I’m doing wrong with my own sole proprietorship are legion. In business, you can’t do it all; there’s always something more you should be doing. And that’s not advice; I’m trying to tell you it’s a trap. In his wisdom, Oliver Burkeman warns us that ‘getting it all done is an illusion. You’ll never get to the summit of that mountain because the climb goes on forever’. Consider the editors who do quite well, thank you, with no website at all or an online offering barely a step up from GeoCities chic.

Being a capable editor – doing the work well – is more important in my mind than having a professional website anyway. I view with mistrust careers that coast on marketing and talking instead of execution and elbow grease, but I would say that, wouldn’t I? Execution and elbow grease is what I know how to do! Persuading people to buy things they don’t initially want or fundamentally need embarrasses me, which means that my own self-marketing is lacklustre.
As for my sister’s website, months later I relented, agreeing to help if and only if we could start small, rendering good text and better design choices with a one-page website that tacitly communicates to visitors that they’ve landed where quality matters.

We should tell her story, I insisted, bringing her role out of the shadows … um, relaying the underlying, human aspects of her profession for clients … or something like that. Wait: What is it you do again, Stephanie?

Pfft. There goes the public again, scarcely taking the time to understand.

 

A financier and editor-who-does-it-for-love, Robin Black believes that no profession or livelihood will escape without integrating the climate crisis into its day-to-day, and he finds writing about himself even more embarrassing in an era of existential threat. Bravery is called for, however, so he manages it here.

 


Photo credits: For hire Clem Onojeghuo; All we have is words – Alexandra, both on Unsplash

Proofread by Andrew Macdonald Powney, Entry-Level Member.
Posted by Abi Saffrey, CIEP blog coordinator.

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

Freelance editing and COVID-19

By Liz Jones

As editors, we’re used to seeing the big picture as well as the small details, moving effortlessly between the two states of looking in the course of a project, or within a single page, often from one minute to the next. Our editorial eye shifts and refocuses, shifts and refocuses, until the job is complete. We are sometimes mistaken for perfectionists, but in reality we are bound by schedules and budgets, depending on pragmatism to guide us in our interpretation of the brief. We can only do what we can do. As professionals with a strong urge to make everything right, still we must accept that not everything is within our control.

Editors have been discussing these limits to what they can and can’t control in the context of the COVID-19 pandemic in the CIEP forums. As business owners we are encouraged – we encourage each other – to believe that we have autonomy. This is why we are freelance: it gives us the theoretical freedom to shape our working lives. To those who argue that it’s hard to wait for a reliable workstream to build up, we answer ‘put yourself out there, do more marketing’. To those who cite the seeming avalanche of competition for high-quality work, we reply ‘train harder, make yourself stand out’. We revere proactivity – and usually, this is reasonable. One of the measures of a successful freelancer is an ability to keep going through difficult times: to bounce back, to persist, to prevail.

But perhaps there are some crises in the face of which no amount of imagination, energy or tenacity will enable a coherent or effective response. And perhaps the social, emotional and economic shock we’re currently enduring is one of them. When asked about the effects the pandemic was having on their businesses, editors duly reported on the relatively ‘small’ details: loss of work, financial uncertainty, effect on mental health, juggling childcare/schooling, support from industry contacts, the (UK) government’s support package for workers. These are all things we can observe and measure, if not necessarily control, and people were thoughtful and generous in the responses they shared.

Loss of work

Work lost so far varies between individuals and by sector – and as some pointed out, it depends on how much work particular editors had in the first place. Some members have reported a complete loss of all work. Most had noticed a slowdown in new enquiries, especially from businesses and individuals such as self-publishing authors or academics, and many reported that projects had been delayed or cancelled. Not everyone has lost work, however. Those working in medical editing have reported more work than usual relating to the current situation, along with those working in educational publishing, as the need for teaching resources surges. Some publishing clients have been open with their freelance editors about their schedules, especially where they remain unchanged for now. Others have gone very quiet, especially when pushed to pay outstanding invoices.

Financial uncertainty

Of course, freelance work entails living with financial uncertainty at the best of times. We’re always expendable, vulnerable to the changing fortunes of our clients. But editors discussed the expectation of needing to depend on savings and investments in the coming months, if they have them, or of having to rely on a partner’s salary for support – again, if they have one. Even for those continuing to take on work, there’s more concern than usual that invoices will not be paid. (This might be a good time to start invoicing for at least part of the work upfront, for all clients, where usually we might be happier to work to 30-day terms for publishers and similar organisations.) People reported some immediate hardship, and the threat of more the longer this situation goes on.

Mental health

Most editors who answered reported that their mental health was OK – for now. Some acknowledged that it could be fragile, though, and needed monitoring. People were finding it hard to be physically separated from friends and loved ones. In terms of managing mental health, a few alluded to the medicinal properties of wine, while conceding that this could be a false friend. They also mentioned continued physical exercise, exposure to the outside world where possible, music, yoga and meditation, and pets as being beneficial. Perhaps freelance editors have an advantage when it comes to dealing with relative isolation. We are already used to working alone for long periods, and finding ways to restore our sanity and feelings of connection. People thanked the CIEP for continuing to support meetings between groups of editors via Zoom – an option increasingly taken up by various local groups. It’s possible that the immediate flurry of trying to reorganise our lives around the sudden restrictions has distracted us to the point of deferring a collective mental health crisis, but it was good to read that people are coping so far and have strategies to fall back on.

Caring responsibilities and school closures

Many of the editors who responded had caring responsibilities, including for school-aged children currently at home (and in need of some sort of schooling). This was affecting people’s working hours and causing some stress as a result. Of course many of us are fortunate in that we have relatively flexible work – but the days still have the same number of hours … and trying to look after children, provide them with some form of ongoing education and get some meaningful work done is exhausting, especially for those with younger children. Again, the restrictions on what can be done with children outside the home make things extra difficult. It may prove impossible to do anything other than the bare minimum of work in these conditions, meaning that regular activities essential to the growth of a business, such as marketing, are sidelined. It’s early days, but these challenges are only likely to increase, with no fixed end in sight. A few editors commented on the effects of having a partner working from home (where this was not usual), which can disrupt routines and put extra pressure on space.

Help from the industry

It was generally agreed that industry contacts can best support freelancers in this situation by being as open as they can about the impact of the crisis on schedules and workflows; keeping lines of communication open. This should apply in less extreme circumstances, too, but it’s especially important now. And arranging to pay freelancers on time for their work, and early if possible, is crucial. Perhaps it should go without saying, but it bears reiterating, that project managers (in-house or freelance) should only commission editorial work they can be confident of having sufficient cashflow to pay for.

Government support

At the time of writing, the UK government had offered a support package to self-employed people which should enable them to receive a grant of 80% of their average income for the past three tax years – three months’ pay up to a maximum of £2500 per month, in one lump sum. This was broadly welcomed by those it would help (though the money is not likely to be available until at least June) but, as many pointed out, it does leave key groups of freelance editors without access to adequate support or compensation. People who operate limited companies are not covered, and it also neglects people who have only recently become self-employed. The offer of support has also been made in such a way as to entrench the widespread (and unhelpful) perception that self-employed people habitually pay less tax than employees.

That’s a brief overview of what editorial freelancing in the current climate looks like, for now – the detail of our working lives in lockdown. People remain as positive as they can, but I think we should acknowledge that it is scary, and certain things do look really grim. Global events continue to unfold at a speed we’ve never really witnessed; by next week this article could look quite quaint. And as for that bigger picture – the long-term outlook, the landscape we’ll all be navigating once the crisis has passed? That remains to be seen.

Liz Jones is one of the editors on the CIEP’s information team.


CIEP members can keep in touch on the forums.

Follow your government’s coronavirus guidance (the UK’s is here).

If you are self-employed and eligible for a grant from the UK government, HMRC will be in touch.

IPSE is providing regular updates on support for the self-employed and limited companies during the pandemic.


Photo credits: Stay home Mohammad Fahim; Child and dog on laptop – Charles Deluvio, both on Unsplash.

Proofread and posted by Abi Saffrey, CIEP blog coordinator.

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

Wise owls: managing money

It’s coming up to the end of the UK tax year (5 April) – the CIEP’s wise owls have turned their thoughts to keeping track of income and outgoings.

Liz Jones

Here are some things I’ve learned about managing money in 12 years of freelancing:

  • Tax is a potential killer. I’m happy and proud to pay tax, but it’s one of the things I’ve found most challenging to manage in terms of cash flow, especially in years when I’ve taken a few weeks’ ‘maternity leave’. It’s really important to set aside more than you think you’ll need: if your earnings fluctuate, so will your tax bills. I’ve found paying an accountant to be a worthwhile cost to help me get my tax calculations right and understand how I can make the most of allowances.
  • It’s essential to get into a position where you’re not depending on a particular payment being made on time in order to pay vital bills such as the rent or mortgage. Even with the best clients, timely payment is not 100% reliable.
  • I never justify charging clients a high rate by citing my circumstances. As it happens, mine is the main income for my family, but that’s irrelevant to them. They’re paying for my work, not to support my lifestyle.
  • I use FreeAgent to manage my invoicing, and my accountant takes the information directly from this to complete my tax return. It’s not free but it’s saved me a lot of time over the past few years.
  • I chase invoices as soon as they go overdue. After once losing nearly £2,000 on an unpaid invoice when a client went into administration, I also invoice regularly in smaller stage payments for large jobs, to mitigate the risk of a client going bust.

Louise BolotinLouise Bolotin

My nickname is The Spreadsheet Queen! I use spreadsheets for everything, although I’m barely proficient in Excel. No matter, as you don’t need to be. I created a spreadsheet to track my invoicing just by setting up a few columns with headings such as date, client, what the job was, PO number (if applicable), how much I billed, when I invoiced, when the money is due, etc. I have extra columns for notes and to tick off when my client has paid. I also have a spreadsheet for tracking client hours, with my per hour rate in a column. I bill some of my clients monthly, so I can tot up jobs on the tracking spreadsheet and transfer the billable sum to my invoicing one.

My outgoings are minimal – I’m mindful that expenses are tax-deductible (mostly). My biggest expenses are my CIEP fees (and conference, if I decide to go) and my trade union subs. Then there are costs for software, and, occasionally, stationery, plus fees for my accountant and PC fixer (an essential expense!). Again, I track all these on a spreadsheet – it’s useful to see how much I’m spending per year, including versus how much I’m making. I aim to limit expenses to 5% maximum of my turnover, but it’s usually below that.

I check my business bank account on my phone daily to see what’s gone in (or out). Yes, I have a separate business account – I find it easier to track income and expenses without having to trail through my supermarket shopping, Spotify subs and utility bills. It’s not possible to separate business and personal completely, but it’s about 99% foolproof. I set aside 20% of every invoice as it’s paid – it goes into a dedicated savings account for my tax bill after my accountant has filed my tax return. Setting that aside also stops me from thinking I have more disposable income than I actually have.

Hazel Bird

Managing money is about finding a system that suits your business model. For example, if you’re raising lots of low-value invoices, it might be worth paying for a system that raises, sends and tracks invoices for you, and integrates this data into an accounting package. I’ve seen CIEP members recommend the likes of Crunch, FreshBooks and QuickBooks for this purpose. I tend to raise fewer high-value invoices, so I use an Excel template (which I complete and convert to PDF) and do my tracking in Google Sheets. This lets me geek out with functions to create my own personalised reports. It also means I have no money-management-related expenses beyond the time I take.

It’s definitely not essential to have an accountant, especially if your finances are simple. But naturally this means keeping on top of current tax and accounting requirements, particularly if you’re registered for VAT or invoicing clients in jurisdictions outside the UK. Members often raise very helpful threads on these topics on the CIEP forums.

Finally, there’s a stereotype that freelancers never complete their tax returns until the week they’re due – and then discover we owe the government far more than we expected. I’ve always consciously avoided that approach, because it’s important to me to know my exact tax liability and ensure my cash flow will cover it. To make this as painless as possible, I tend to be one of those insufferable people whose accounts are always up to date. This is inevitably a bit tedious, but it shouldn’t be too tedious. Your system should slot into your work as seamlessly as possible. Money management should serve our businesses, not the other way around.

Nik ProwseNik Prowse

A wise man – a mentor from my early days as a freelancer – once said to me: ‘Put aside your tax money before you spend it.’ He also advised separate bank accounts. So I have a bank account into which all of my business income goes, and as soon as I have a receipt I put a percentage of it into a savings account to cover tax and National Insurance. I set the percentage slightly over what my tax will be, so that I save something each year just by hiving off my tax money.

I don’t use anything other than Microsoft Excel to manage my business income. I have a spreadsheet with columns for date, project name, invoice number, ingoings and outgoings, with a reminders column for payments due for bills and the mortgage. I have separate sheets for the money put aside for tax, business expenses and income from clients. That way, when my tax return is due my business income and outgoings are all present in one handy file.

These two systems have always allowed me to know how much I have, and to be certain that I can’t dip into crucial money that will need to be paid to HMRC.

Sue BrowningSue Browning

My key advice is to do things as you go rather than leaving them to pile up and need sorting out later. Sent an invoice? File it and record it on your income sheet. Renewed your CIEP subscription? File the invoice/receipt and record it on your expenses sheet. I give each invoice and expense a unique reference. Then each month, I download my business bank statement and reconcile it with the invoices issued, marking up each item on the statement with its reference number in my accounts. This reconciliation takes me less than half an hour each month. I do everything electronically, scanning paper receipts on the rare occasions I receive them. I also use a program called Cushion for scheduling, time-tracking and invoicing so my information is all in one place, but do what works for you.

I also put about 20% of my month’s income into a savings account earmarked for tax. This means I don’t dread the total when I submit my return. My accounts spreadsheet has a totals worksheet that collects the monthly figures and gives me an annual total. Come tax return time, I have only to refer to that sheet, knowing that all my invoices and receipts are in order, so my tax return takes me about half an hour. That’s when I am grateful to past me for taking a few minutes regularly to keep on top of things.

Sue LittlefordSue Littleford

Knowledge is a wonderful thing. First, know your money style. Are you disciplined? Does it trickle through your fingers? Track your invoices, and pounce on any that become overdue the first day they’re overdue. Don’t be shy. You’re in business, not pursuing a hobby. Be polite but firm, and repetitive – it works in most cases. Don’t be afraid you’re ‘nagging’ – you’ve done the work, so your client should pay up! Budget for your business and household expenses: work out what you want to spend on training, marketing, CIEP membership and conference attendance, materials, resources and overheads – and know when those become due.

Work out what you need to live on, likewise. Use that knowledge to help you set the hourly rate you want to earn. A simple spreadsheet of your invoices with a running total can be used to forecast your tax and National Insurance bill. According to your money style, either save enough from each paid invoice to pay the tax on that invoice or do your tax return as early as you can and set up a direct debit with HMRC to pay in monthly instalments (more like a PAYE scheme, and there’s no temptation to dip into your tax pot before you pay it to HMRC). With interest rates so low, the satisfaction of knowing you’re paying down that tax bill rather than saving the money and earning on it may balance out easily. Attend HMRC webinars on business expenses and filling in your tax return.


If you’re starting out on your freelance journey, the CIEP’s guide Going Solo covers the finance basics, including tax and record-keeping obligations.


Photo credit: owl – Dominik VO on Unsplash

Proofread by Victoria Hunt, Intermediate Member.
Posted by Abi Saffrey, CIEP blog coordinator.

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