Category Archives: Getting started

Talking tech: Making Windows open to all

Andy Coulson looks at the accessibility improvements in Windows 11 in this Talking tech column (previously known as What’s e-new?).

As you have probably seen, a big Windows upgrade is out and many of us will be prompted to update soon. Microsoft are keen to emphasise improvements in the visual design and how these help tools work together. As part of this they have looked hard at how to support accessibility. While it looks as if there aren’t many new features, Windows 11 has tried to improve these and make them easier to use and clearer and more integrated visually.

The first of these changes, and one that sets the tone of what Microsoft have done, is in renaming Windows 10’s ‘Ease of Access’ section of settings as ‘Accessibility’, a widely recognised term. This also highlights a change in the way Microsoft consulted – they talked to the community much earlier in the process, allowing them to integrate those features much more tightly into the design. This has led to Windows 11 trying to address a much broader spectrum of accessibility and reflect that some disabilities can be temporary or situational. An example of this could be a broken wrist, forcing you to alter the way you work.

Microsoft groups these features into four broad categories: ‘Vision’, ‘Hearing’, ‘Mobility’ and ‘Neurodiversity and learning’. I will use these categories below.

Vision

Windows has always allowed you to do a lot of customisation of how the screen looks. Windows 11 has a set of new high-contrast themes that increase contrast and reduce screen brightness. As well as helping those sensitive to light, these can give your eyes a bit of a rest on a long day.

For those with weaker eyesight there are a series of options to make Windows easier to use. The mouse pointer can be customised to make it more visible, through increasing its size, having a stronger contrast or setting it in a bright colour. You can add mouse trails so its movement is easier to track and, if you use a touch screen, you can add visual feedback when you touch the screen.

Another tool to help here is the Magnifier. This can be turned on with the Windows logo key and the plus sign. It allows you to zoom in and move around the screen. You can continue to work and interact with whatever you have on screen while zoomed in.

Colour filters help make the screen easier to see. As well as filters that invert the colours, or change to greyscale or inverted greyscale (that is, a black and white screen) there are a number of filters that focus on different types of colour vision deficiency.

Finally, for anyone who can’t read a screen, there is a Narrator tool that can read aloud what is on the screen. Couple this with voice typing, which I will look at below, and you can effectively use a PC without a screen.

Hearing

Sound was one area where Microsoft’s earlier engagement on accessibility has really influenced what they have done. Many customers with hearing difficulties found the feedback sounds ‘aggressive’, and this has influenced the sounds in Windows 11, which attempts to create a calmer scheme. It also highlighted the need to ensure that the sounds used a broad range of tones across the hearing spectrum. Feedback from users with visual impairments also influenced changes to the timing of when sounds are played. The startup sound now plays when you are able to enter your login information.

Other assistive options here include being able to switch between stereo and mono audio, and adding visual indications to audio notifications, so the screen will flash with an audio notification.

Windows 10 and 11 both have the closed-captioning system for video, adding captions for what is being said. As well as helping someone with a hearing impairment, this can be helpful if you are watching in a noisy (or quiet) environment, or learning a new language. The captioning can be extensively customised to make it easier to read, and Windows 11 adds new themes for this.

Mobility

Windows 11 has updated the voice typing feature, with additional languages and commands. This allows you to dictate directly to the computer and have the words appear on-screen. There are various command words that allow you to add punctuation, delete things, select things and so on. In fact, I’m using that to dictate this paragraph and I have to say the accuracy is pretty good. While this isn’t going to be usable for editing, I’m certainly going to look at it a bit further for quick notes and first drafts for writing.

Windows also has a more sophisticated speech recognition system that ties in with its virtual assistant, Cortana. This is more focused on controlling and navigating the computer. The pre-release information on Windows 11 suggests to me at least that the voice typing may use the same AI speech recognition engine as Cortana in this release. This perhaps means that the two will merge over time.

The other feature here is eye tracking, which requires some additional eye-tracking hardware. Windows 11 adds support for more devices and some extra languages to a feature that came in partway through Windows 10’s useful life. Again, the implementation looks well integrated and perhaps points the way to a future interface.

Neurodiversity and learning

Microsoft have built various tools into Windows 10 to help remove distractions such as notification pop-ups, and you can customise these with various rules governing what you see and when. You can also remove animations, desktop backgrounds and suchlike. Windows 11 has taken these features and appears to have tidied up and in some cases simplified them. I’m very anti-notification to start off with and have most of these turned off, so perhaps I’m not the best person to judge how useful they are. As Windows 11 seems to focus on working smoothly across applications, I think notifications will be one of the tools it uses. However, it seems as if it is going to make it easier to manage these and perhaps give more granularity in terms what you can do.

The final feature highlighted is the Immersive Reader that works with text in the Edge browser. Microsoft say that it ‘simplifies a web page layout, removes clutter, and lets you customise your reading experience’.

The text tools allow control over the text size and spacing, and the colours used on the page. The themes are inspired by Irlen Spectral Filters, and so support colour schemes that can help people with various conditions. An example would be using a pale yellow background for text, which could be helpful for someone with dyslexia. There are also some grammar tools that allow highlighting of nouns, verbs, adjectives and adverbs, and splitting words into syllables (eg syl·la·bles). Finally, there is a line focus tool that highlights one, three or five lines at a time, helping the reader focus on a smaller amount of text. It will be interesting to see if these tools get integrated into Word in the longer term.

Summing up

Microsoft appear to have built accessibility into Windows 11 in a much more holistic way than before – it is an interface designed to work for most people rather than adding in features. Based on the previews, I think Windows 11 is going to make supporting accessibility easier. In doing this, I think it allows a broader range of customisations that will help users make the system work for them. Through supporting a more diverse range of users from the start, we all ultimately benefit.


Andy’s previously written about considering the environment when buying technology, the terminology of technology, open banking options and how to be your own IT department.


About Andy Coulson

Andy Coulson is a reformed engineer and primary teacher, and a Professional Member of CIEP. He is a copyeditor and proofreader specialising In STEM subjects and odd formats like LaTeX.

 

 

About the CIEP

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

Find out more about:

 

Photo credits: open window by Chris Barbalis; colourful laptop by Dhaval Parmar, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

 

 

The 2021 CIEP conference: The editing educator

This year’s CIEP conference was held online, from 12 to 14 September. Attendees from all over the world logged on to learn and socialise with their fellow editors and proofreaders, and a number of delegates kindly volunteered to write up the sessions for us. Sheila Korol reviewed The editing educator: What you need to know about teaching editors, presented by Erin Brenner.

Feedback, kindness and humility

Feedback, kindness, and humility were just a few of the keywords that stood out in Erin Brenner’s session on what you need to know about teaching editors.

Having started her own business, Right Touch Editing, in 2005, Erin has been training other editors since 2012. So, speaking from ample first-hand experience, she presented on how teaching can lead to both more income and a deeper understanding of our own editing craft through building relationships with students.

Who’s the best editing instructor?

The first part of Erin’s session addressed knowing whether we’re ready to teach. Since editing takes time to learn, her advice was that editors should have at least two to three years of solid experience first in order to consolidate their understanding of editing procedures, tools, and publishing processes.

Since public speaking is also likely to be a skill we don’t use much in our editing lives, Erin advised on ways to gain experience and confidence in this area. This might be through recording and reviewing your presentation style, joining a group like Toastmasters, or giving short and free talks to small local groups.

A point Erin stressed early on was what she viewed as the ‘right traits’ helpful to both editing and teaching. These include:

  • Humility: accepting we will never be perfect and we will make mistakes
  • Kindness and patience: giving our students time and space to struggle and learn
  • Firmness: setting deadlines and teaching students to be accountable
  • Open-mindedness: accepting that multiple solutions exist and recognising all good work.

How do we teach?

In the second part of her session, Erin explained the importance of editors knowing not only the right content to share with students but also the means of elaborating on and organising information in a way that will help students better retain knowledge in their long-term memory. Some of the key techniques she shared for accomplishing this knowledge transfer include:

  • Low-stakes testing: breaking down knowledge into frequent, smaller tasks such as quizzes, skills practice, and participation to reduce student anxiety
  • Modelling: anonymously sharing both right and wrong work produced in the class
  • Giving detailed feedback: identifying and explaining problems and how to solve them
  • Praising: always encouraging, motivating, and building students’ confidence by frequently pointing out their correct answers.

Where to find teaching opportunities?

Compared to a few decades ago when few options existed, editors today have a multitude of teaching opportunities through several different teaching platforms, timelines, and institutions. Teaching turnover tends to be high in many regular programmes, so the demand is certainly there for interested editors. Places to look for work include colleges and universities, professional training programmes, and editing organisations. Other ideas include searching job boards, cold-calling editing programmes, or networking with instructors. Additionally, more and more editors are now creating and marketing their own individual programmes. It’s worth noting, too, that editors can always reach out to a wider range of language-related fields such as communications, journalism, and marketing.

Overall, if you’re an editor thinking of branching out into teaching, Erin’s presentation was filled with thoughtful and practical ideas to start you on your way.

Sheila Korol is from Canada and an Intermediate Member of the CIEP. An experienced English literature teacher, she lives in Hong Kong where she has set up shop as a freelance proofreader and copyeditor for independent authors, academics, and educational publishers.

Find her on LinkedIn or Twitter.

 

About the CIEP

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

Find out more about:

 

Posted by Abi Saffrey, CIEP blog coordinator.

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

Meet our members: Leona Skene

We want you to meet our members, so we’ve asked some of them a few questions, and have found out how they started their editing career, and what they love about their work. In this post, Intermediate Member Leona Skene tells all.

Why did you choose an editorial career, and how did you get into it?

I’ve always known that I wanted to work with words and language. As a child, I was an enthusiastic reader, and I chose to study English & Scottish literature at university. I then went on to gain a certificate in Creative Writing.

It became apparent that I wasn’t ever going to become a famous novelist, and so I went on to work in unrelated fields for a number of years. After a career break to have my children, I realised that my strengths actually lay in editing and polishing other people’s work, not in creating my own.

I undertook training with the CIEP (then SfEP) in 2015. I then worked on ad hoc freelance projects, along with a regular gig as sub-editor of an events magazine, until January 2021, when I launched my own business, Intuitive Editing.

What training have you done to get your editorial career up and running?

I completed the CIEP’s Proofreading 1 and Copyediting 1 courses, and I’ve attended several useful webinars through ACES: The Society for Editing. I’m committed to further CPD through the CIEP: I completed Word for Practical Editing earlier this year, and am looking at Efficient Editing: Strategies and Tactics as my next step.

What work are you most proud of?

I take pride in all my editorial jobs, but I’ve worked on a few projects where I’ve been able to give specific advice on the Scots language, along with Scottish culture and identity. I do feel really proud of that.

What do you do if you’re struggling on a job?

I usually step back, have a bit of a breather, and try to regain perspective. I often ask for advice from colleagues in the Editors of Earth Facebook group; they’re a great bunch, with many CIEP members involved. And the editing community on Twitter is very helpful.

What does being a member of the CIEP mean to you?

Being a CIEP member is immensely important to me. Becoming a freelancer essentially means you’ve magicked up a career for yourself out of thin air – this can be wonderful, but the flip side is that it’s easy to let imposter syndrome get the better of you. There’s no line manager to provide feedback; nobody to tell you if your decisions are good ones or bad. The CIEP provides that all-important backbone of training, support and professional accreditation. I couldn’t have started my business without that.

Which editorial tasks do you enjoy the most, and why?

I love doing the first pass of an editorial job: getting the feel of the text, absorbing the author’s voice, making notes of any immediate issues that jump out. There’s a little thrill in entering the ‘world’ of a book for the first time and seeing the difference you can make to it.

Do you have any editorial pet hates?

Comma splices. My editing style is quite relaxed, but there’s something about those cheeky little baddies that rubs me up the wrong way. All comma splices are annihilated with extreme prejudice.

What has most surprised you about your editorial career?

The variety. As a relatively new editor, I’m still in the process of finding my niche and deciding which area to specialise in. I’ve been lucky enough to work on historical fiction, children’s fiction and YA, sci-fi and fantasy, and creative non-fiction. I’ve learned so much along the way, and I’m still learning!

What’s the best career advice you’ve received?

‘Under-promise and over-deliver.’ Don’t promise the world; be conservative and realistic about the service you can provide within a specific timeframe. It’s quite likely that you’ll deliver the project a little earlier than stated, which is always a nice thing for the client.

What advice do you have for people starting out on an editorial career?

I’d say that professional training is a must. It’s great to have a natural talent for spotting typos, but there’s stuff you just won’t learn unless you study it properly. Or possibly you will learn it, but it’ll take much longer.

I would recommend looking at the CIEP’s course directory or that of another recognised provider, such as the PTC. If you’re not at the stage where you want to commit to training, it’s worth joining a few Facebook or other social media-based editing groups – these can give you a general feel for the type of work editors do on a day-to-day basis. Another fantastic resource for newbie editors is Louise Harnby’s website – Louise has loads of information and how-to guides for both editors and writers.

Do you ever stop editing?

Absolutely never. I’m editing in my sleep at this point!

Finally, tell us one thing about you not related to editing

I lived in Italy for two years, and although my spoken Italian is now woeful, I still have strong feelings about pasta, pizza and the proper time of day to order a cappuccino. It’s a morning drink!


Want to meet more of our members? Head over to the Meet our members page.


About the CIEP

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

Find out more about:

 

Photo credits: open books by lil_foot_; Scotland by bummelhummel; cappuccino by gadost0, all on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Forum matters: Editorial terminology: Grammar, inclusivity and meaning

In this article one CIEP forum moderator looks at discussions of terminology in the CIEP forums:

  • What is terminology?
  • Grammar terminology
  • Look it up!
  • Hold on – what is copyediting?
  • Being inclusive
  • Niche knowledge
  • Just ask!

What is terminology?

Terminology. Definitions. Vocabulary. Jargon. The meaning of things. The official definition is ‘the body of terms used with a particular technical application in a subject of study, profession, etc.’ (Lexico). This term can definitely be applied to editing, which has a marvellous lexicon of editing terms, such as widows, orphans, ligatures, en dash, justify, leading and kerning, which new editors may puzzle over.

Grammar terminology

It’s very common to know instinctively that something ‘looks wrong’ when you’re editing, but you may not have the knowledge of grammar terminology to be able to confidently say what is wrong, and why*. Perhaps you weren’t taught formal grammar at school, or perhaps you learned about grammar a long time ago and your skills are rusty. The new CIEP Getting to Grips with Grammar and Punctuation course is designed to give students the skills, terminology and confidence to be a better editor.

This confusion is not helped by the fact that many grammatical terms are known by more than one name: is it a gapping comma or an elided comma? An adverbial or adjectival phrase? A dangling participle or a dangling modifier? And what’s it called when you start a sentence with ‘so’ – and why is it so common today?

And for the last word in terminology? The CIEP proofreading and copyediting courses include access to a Resource centre which contains – among many other useful documents – a glossary of all the publishing and editorial terms you will ever need, from ‘abbreviation’ to ‘Word template’. There’s also a glossary in the back of New Hart’s Rules – my go-to style guide. For fiction editors, MH Abrams’ and Geoffrey Harpham’s A Glossary of Literary Terms will come in useful.

*You’ll need to be registered for the fiction forum to see this post.

Look it up!

One of the skills that it’s essential for an editor or proofreader to master is knowing when to look something up, knowing where to look it up, then actually looking it up and applying the answer to the text they’re working on. The forums can be super useful for this too.

Not sure whether to use ‘who’ or ‘whom’? See ‘who/whom – going cross-eyed’.

Do verb tenses make you tense? Then see ‘Please help with some technical jargon’.

Hold on – what is copyediting?

One of the questions editors and proofreaders are asked most often is: what is copyediting? What is line editing? What’s the difference between them? Unfortunately, there is no one universally accepted definition of these terms. Some people think that they are very different beasts, while some people think they are the same thing. And what about proof-editing? What does that involve – and where do you draw the line?

The most important thing is that editors and proofreaders tell clients clearly what service their project needs, and list the tasks they will carry out on a job. That way, there’s no confusion. For more guidance on this, see What is proofreading? and What is copyediting?

Being inclusive

It’s not just editing terminology we need to consider. We also need to think about the words we use around disability, age, ethnicity, culture and sexuality. These are always changing, and editors and proofreaders must keep up with these changes.

Threads on these topics come up a lot on the forums – here’s a selection you may like to read. I guarantee that you will learn something!

A thread on ‘What is a female-headed household?’ led to a passionate discussion on terminology, as did threads on ‘Is “pro-poor” the best term to use?’, ‘Is the phrase “Black, indigenous and people of colour” acceptable?’, ‘People of colour’ and one on the best wording to use around mental health.

I especially enjoyed the thoughtful discussion on these threads on sexist terms and whether or not we should refer to master copies, which referenced a session on sensitivity issues in a recent Cloud Club meeting.

Finally, one thread contains some helpful suggestions for resources around inclusive language.

Whichever words you choose to use, remember this: ‘Your words have power. Speak words that are kind, loving, positive, uplifting, encouraging, and life-giving’ (unknown author).

Niche knowledge

Of course, discussion on the forums isn’t always serious. There are plenty of light-hearted threads too, such as these on betting, butterflies and bridges.

And if you want to tell someone you’re a copyeditor without telling them you’re a copyeditor, is there any better way than to enquire: Should liturgical Latin terms be set in italic?

Just ask!

As ever, the forums are wonderfully diverse resources of all kinds of knowledge. If you want to know the answer to something, and you’ve tried looking in your library of style guides, editing guides and reference books, then ask on the forums. Someone is bound to know.

This feature comes from the band of CIEP members who volunteer as forum moderators. You will only be able to access links to the posts if you’re a forum user and logged in. Find out how to register.

About the CIEP

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

Find out more about:

 

Photo credits: typesetting tools by Etienne Girardet; Welcome by Belinda Fewings on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Should I volunteer when I’m starting out?

Wherever you are in your editing or proofreading career, taking on voluntary work can benefit you and others. But, as many who have done it will tell you, it’s not without its snares and snags. With the help of some generous CIEP members who have shared their experiences, in this article we’ll look at how volunteering can work when you’re starting out. We’ll also suggest some questions that you should ask yourself before you start offering your valuable time for free. In a future CIEP blog, we’ll look at how volunteering works when you’re established in your editing or proofreading career.

Below we’ll cover:

  • Discovering a taste for what you enjoy
  • Learning with less pressure
  • Declaring yourself
  • Getting your foot in the door
  • Using voluntary work for membership upgrades
  • Four questions to ask yourself before you volunteer

Discovering a taste for what you enjoy

Unpaid work is the way that many proofreaders and editors start – in fact, it can be how they realise they have an aptitude and enthusiasm for what will later become their career. Perhaps a friend, knowing you’re good with words, asks you to check the grammar and punctuation in their thesis, and halfway through you think: ‘I’m really enjoying this!’

Learning with less pressure

Once you’ve done your basic training, volunteering can help you test your new editing or proofreading skills and learn a few more without the stresses that could come from being paid. One of our members described the voluntary jobs she had taken on since completing her CIEP Proofreading courses – proofreading two series of short stories, some poetry and three website articles – and the impressive set of new and improved skills she acquired in the process:

  • increasing her competence and confidence in using Track Changes and Find and Replace, and starting to explore Word Styles
  • learning how to save a web page as a PDF, and practising using the Adobe Comments tools
  • using PerfectIt and other macros for the first time
  • compiling a style sheet to use as a template
  • keeping a record of time spent and work carried out, which helped her calculate her average proofreading speeds.

This member has appreciated the time and space that volunteering allows for growing into a new career:

I am finding this period of focusing on voluntary work to be hugely beneficial. With each job I develop new skills or learn about new tools which I can incorporate into my practice. As an Entry-Level Member, I like not having the pressure of being paid – for now!

At the same time, however, she hasn’t lost sight of the ultimate plan – to get paid work:

I am also building up a little bank of testimonials which I can use on my website, and at least two of the clients have said they will recommend me to friends and colleagues.

Declaring yourself

Sometimes you might be volunteering in a different arena from editing and proofreading, but if you tell the people you meet what you usually do for a living, more relevant volunteering work could come your way. One member says:

My daughter is a pharmacy dispensing technician at a village medical centre near to us. During the summer of last year, they were looking for volunteers to step up and help manage visitors attending for their flu jab, along with those attending for other medical appointments and pharmacy collections. Always happy to help out, up went my hand, into which was promptly thrust a high-vis jacket.

When asked what I would normally be doing, I was happy to tell folks that I’m a novice proofreader and occasional copywriter. The next thing I knew, my lovely daughter came home from work with a bottle of red in one hand and the medical centre’s newly penned ‘Team Handbook’ in the other.

Always remember, though, that if you’re accepting ‘payment in kind’, such as wine, you need to declare yourself to the tax office, too. Sue Littleford, our columnist on business matters, explains:

Had the CIEP member’s bottle of red wine been handed over for some proofreading, it would have been a ‘payment in kind’ and yes, it’s taxable. He’d have had to put the cash value of the wine in his accounts.

Getting your foot in the door

Getting paid in wine, or cake/casseroles/bedding plants if any of those are more your thing, is great, but at some point you’ll need to get some paying clients. One member described how this happened for her:

When my youngest was a baby (2012), I was involved with my local NCT branch. I worked with the newsletter team, and somehow took on the role of getting 700+ printed copies of this booklet distributed to local members every quarter!

I carried on proofreading for the branch long after I’d left my NCT days behind. It was only about five hours’ work a quarter, but it was great experience and something regular to look forward to while I was starting out.

Then last year, someone I knew from that time contacted me through LinkedIn. She remembered what I’d done with the NCT newsletter and thought I’d be a perfect fit for a project she was leading on at work. I’ve now had 8–9 months of consultancy work through this company on two different projects, helping me towards my most profitable year by far!

It’s not going to work quite like that for everyone every time, and this won’t last forever for me. But I do think that doing those little jobs on a voluntary basis can sow the seeds in people’s minds, and you never know when they might need you for something different (and paid). It shows people what you can do and how you work, and they’ll remember that.

Another member says:

When I started my freelance proofreading business last July, I contacted many companies and charities offering my services for free in exchange for a testimonial, as I felt this was the best way to gain experience and also increase my exposure in the form of having recommendations to hand.

I had a few positive responses, one of which was from Kathy Bishop, the editor of the Catholic magazine The Faith Companion.

Kathy’s initial response was that she would be happy to help me out as everyone ‘needs a helping hand’, and that she would send me a couple of articles to work on for the next issue, but she wanted to make it clear that they weren’t looking to take anyone on. I replied saying that wasn’t a problem at all, I was just happy with the opportunity to gain some experience and increase my hours.

I now have The Faith Companion as a regular client for the foreseeable future, and I really don’t think this would have happened if I hadn’t originally offered my services on a voluntary basis.

Using voluntary work for membership upgrades

Can voluntary hours count towards a CIEP membership upgrade? They can, if you’re using certain core skills and applying for a certain level. Professional standards director Lucy Metzger says:

For someone seeking an Intermediate Member (IM) grade, it’s fine for some or all of their 100 hours of work experience to be voluntary, and we wouldn’t expect it to be done for a traditional publisher. Some paid proofreading or copyediting work would strengthen the IM application overall, but it’s not a requirement.

However, in order for volunteer work to be counted in an IM application, it still needs to be work using what we call our ‘core skills’ – proofreading and/or copyediting. If a person’s voluntary work has included non-editorial tasks, as well as some core skills work, we would count only the number of hours using the core skills.

For upgrading to Professional (PM) or Advanced Professional (APM), the core skills work experience needs to be for publishers who understand the standards we are looking for in the core skills. If the work is for another body whose core business isn’t publishing (a ‘non-publisher’) the applicant’s experience can be validated by passing the Institute’s editorial test. If a previous application for IM relied mostly on voluntary hours, those hours would most likely be for non-publishers, which would count in a later application for PM or APM only with a test pass, demonstrating that the applicant had the required level of expertise in the core skills.

Four questions to ask yourself before you volunteer

So far, so good, then. However, there are some important questions to ask yourself before you take the plunge and offer your services for free. These questions are taken from an archived blog about volunteering written by a previous blog coordinator, Tracey Roberts.

1. Who should you volunteer with?

Not all charities or non-profit organisations need free help, so do your homework: ‘many charities have healthy budgets’, as Tracey points out. You could follow your interests, and volunteer to proofread or edit something in the fields of gardening, poetry, politics, sport or history, for example. There may be a newsletter for a club or organisation you belong to that you could help with. Some of our members edit their local church magazine.

2. What will you get out of it?

‘This is important,’ says Tracey. ‘If the person or organisation you are volunteering for doesn’t know what’s required of a good editor or proofreader, how valuable will their testimonial really be?’ Tracey makes another very valid point which touches on an aspect that many editors and proofreaders have been burned by: ‘Working for a client (or especially a friend) who doesn’t understand the process (and while you are still learning yourself) could turn into a tricky or negative experience.’ So make sure you go in with open eyes.

3. What skills do you want to practise?

If you want to work in fiction editing, look for experience there. If your aim is to be a scientific editor, volunteer to proofread a PhD thesis in biology.

4. How much time are you happy to provide?

Tracey explains:

In the early stages of your freelance career you will be busy building your new business and need time to develop your marketing strategy, website etc. Any time spent volunteering must fit around the creation of your new freelance business, and other important personal commitments, to ensure a healthy work–life balance is maintained.

Remember too that if you work for a client for free, or even a reduced rate, it will be very difficult to start charging at full rate when asked to take on future projects.

So remember not to overwhelm yourself, and as time passes think carefully about the balance between your unpaid and paid work. As your career matures, however, there’s no reason why you should give up volunteering if it’s still benefiting you and your business. In our second related blog, we’ll look at what you can get out of volunteering when you’re more established.

Written by the CIEP information team. With thanks to the CIEP members who generously shared their experiences.

About the CIEP information team

Abi Saffrey, Liz Jones, Margaret Hunter, Cathy Tingle

Liz Jones, Abi Saffrey and Cathy Tingle are the CIEP’s information commissioning editors. If there’s a topic that you would like to see covered in a blog post, fact sheet, focus paper or guide, drop the team a line at infoteam@ciep.uk.

 

 

About the CIEP

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

Find out more about:

 

Photo credits: welcome by Andrew Neel; raise your paw by Camylla Battani, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Is proofreading a good side hustle?

Proofreading has long been touted online as a good way to supplement a regular income – the side hustle. This post by Louise Harnby examines the notion, and explores the challenges.

In this post, we’ll look at the following:

  • What is a side hustle?
  • The problem with the terminology
  • Proofreading as a side hustle – popular but problematic
  • Do I need training?
  • Who am I competing with?
  • Who hires professional proofreaders?
  • How will I find work?
  • Additional considerations

What is a side hustle?

A side hustle is the term used to describe part-time work that’s done alongside a person’s regular job. Side hustles can be long-term or short-term gigs, and they’re popular because they allow people to dip their toes in the proverbial water rather than fully committing to a career change.

For some, they’re essential, either because their day jobs aren’t generating enough income to meet their costs of living or because their day jobs don’t come with an income at all – for example, those bringing up children or caring for dependants.

The problem with the terminology

In the editorial world, there’s resistance to the terminology owing to the negative connotations of hustle.

Editorial work is about attention to detail, about respecting a client’s voice and brand, about shaping and smoothing text rather than butchering it.

And editors and proofreaders do love their dictionaries. Which doesn’t help matters given hustle’s lexical association with pushiness, pressurised selling, prostitution, and worst of all, fraud.

Since professional self-employed editors and proofreaders spend a chunk of their time trying to build trust with clients searching for editorial support in what is essentially an unregulated global market, it shouldn’t come as a surprise that mention of a hustle makes them twitchy!

Proofreading as a side hustle – popular but problematic

Let’s put the terminology to one side. Can proofreading work be done on the side? Yes. Can a proofreading business be set up overnight? In name, certainly. However, the reality is that unless you already have clients waiting in the wings, you’re going to have to do what every self-employed business owner does – find them, or enable them to find you. Which means marketing.

Furthermore, you’re going to have to find those that you’re a good fit for, and that means skilling up.

Training takes time to complete and marketing takes time to bear fruit. For that reason, if you’re looking to earn extra income quickly, proofreading makes for a poor side hustle.

Do I need training?

Side hustlers in the making might be wondering if training is necessary. Put yourself in a potential client’s shoes. Even if you’re a mega marketer, such that you get in front of your clients quickly, persuading them to hire you requires them trusting you to do a great job.

Trust can be earned in more than one way, but training’s part of the equation. When the tap starts dripping or a plug starts sparking, I don’t want someone messing around with my plumbing and electrics if they haven’t made the effort to ensure they know what they’re doing.

Clients who want help with their words feel the same way about having their text polished. And so they should. The work we do will cost them tens, hundreds, perhaps even thousands of pounds. Proofreaders charging for their services owe it to their clients to be qualified to do a great job.

Plus, we don’t know what we don’t know. Prior to carrying out editorial training, I had no clue what a publisher expected from a proofreader. Training solved that problem. One thing I learned is this: a good command of spelling and grammar is just the tip of the editorial iceberg.

Here’s just a smidgen of the skills my publisher clients expect from a proofreader – issues that once read like gibberish to my untrained eye.

  • Marking up page proofs with BSI proof-correction symbols
  • What to do with overmatter
  • How to manage orphans and widows
  • How to check running heads
  • Handling stacked hyphens on rectos
  • Checking that references are styled according to APA or Harvard

 

Who am I competing with?

Something else the side hustler should consider is the competition. This is not a barren marketplace, alas. There are tens of thousands of editorial professionals out there already, many of whom run their businesses as full-time enterprises. They:

  • are highly trained, often with specialist skills and knowledge
  • are very experienced and have portfolios to prove it, and
  • have been around for a while so know how to be found and where to get work.

That said, there is always room for new proofreaders and editors because most of the work these days is done digitally, which means the market is global. And just as people join the profession, so others leave it.

However, it would be a mistake to think that competing in the proofreading market is just about supply and demand. It’s a digital world, which means the name of the game is visibility.

Who hires professional proofreaders?

First, the good news. Anyone who works with words and cares about their meaning and readability will be interested in hiring a proofreader. This short list of potential clients only scratches the surface.

  • Academics
  • Business owners
  • Educators
  • Independent authors
  • Marketing and communications agencies
  • Packagers and project management agencies
  • Publishers
  • Students

That’s the easy bit. The harder bit is that not all clients know what kind of editorial help they need. And so, even if they ask for something called ‘proofreading’, and that’s what you’re offering as a side hustle, it might be the last thing they need. Literally.

In fact, they might need specialist structural or stylistic help that doesn’t fall under the scope of proofreading at all. Proofreading is a final quality-control check after other rounds of editing.

So if you’re thinking about offering this service as a side gig, make sure you and anyone you work with understand the precise scope of the work you’re offering.

Failure to do so could lead to disappointment, complaints and requests for refunds, thereby turning your side hustle into an upfront hassle.

How will I find work?

Getting work means being visible. Either the client has to find you or you have to find them, meaning anyone looking to earn an income from proofreading needs to have marketing skills as well as proofreading skills.

That’s a necessary time-sucker that any independent editorial pro needs to wrap their head around from the get-go.

There are lots of ways to be visible, some better than others, depending on what types of clients you want to proofread for.

  • Emails, letters and phone calls are good options if you want to get on the radar of publishers and packagers.
  • Content marketing is a slow but powerful burn for those wanting to be found on Google and social media by authors, students and academics.
  • Freelance directories can be a good source of work, though are often the first port of call for clients looking for cheap and fast.
  • Many professional editorial associations such as the CIEP have editorial directories that can be good lead generators for appropriately qualified proofreaders.

Proofreading might seem like your ideal side hustle but you must factor in regular time to get the work in the first place. There’s too much competition not to do so.

Additional considerations

Finally, don’t forget the additional business-critical responsibilities that come with the job, even if it is on the side.

  • Will you need indemnity insurance to protect yourself?
  • Will the income you earn need to be declared to the relevant authorities? Will there be tax implications? Might your additional income affect any state benefits you receive?
  • Do you have funds in place for training and marketing? Both have costs to them.
  • Do you have access to an environment that will allow you to concentrate and work without interruption?
  • Do you have industry-standard hardware and software, and know how to use it?
  • How many hours a day do you have available, and will you be able to meet clients’ deadlines? High-quality proofreading is labour-intensive work. Even experienced full-time proofreaders will need at least a week to proofread a novel. Being realistic about the time required is essential.

Summing up

Proofreading can be used to supplement income from another job. Many full-time professional proofreaders started their editorial journey by doing it on the side.

Don’t forget that being a proofreader means becoming one first – via training. And making your side hustle viable means being found by those who need your services – via marketing.

It can be done – just not overnight.

Want to become a proofreader?

The CIEP has loads of support and information to help you get started.

And Louise Harnby has a selection of books and courses to help you on your journey.

About Louise Harnby

Louise Harnby

Louise Harnby is a professional fiction editor with 30 years’ publishing experience, and specialises in working with independent crime, thriller and mystery writers.

She is an Advanced Professional Member of the CIEP and co-hosts The Editing Podcast with Denise Cowle.

 

About the CIEP

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

Find out more about:

 

What do editors and proofreaders think of taking tests?

We asked our freelance members for their opinions about editing and proofreading tests: tests set by a potential client to assess the freelancer’s suitability for the job. Here, four CIEP members share their thoughts on the topic.

Alex Mackenzie

This was a timed proofread I’d been asked to do as part of a job application. The email said they’d send me a document at 10am; I was to proofread it and return it an hour and a half later. Heart racing, I began, wide-eyed and focused. Ninety-one minutes later, of course, reassessing my sent work, I spotted a mistake! The test had been simple enough, basically a simulation of the company’s typical report: one table (misaligned and missing information), one graphic (valuable seconds lost trying to edit that insert), logos and company branding (creative capitalisation), finishing with a wordy biography (university degrees and excessive work experience). But that ticking clock, I thought, was an unnecessary pressure. And my obvious mistake wouldn’t have escaped a re-read or a PerfectIt scan. Oh well, I huffed – I’ll put that down to experience. Three months later I was hired – they’re now a regular client, paying CIEP suggested minimum rates!

Other than that, I’ve completed test edits for academic proofreading agencies. I remember Janet MacMillan’s words in one of my early Cloud Club meetings: give it an hour, there’s nothing to lose. True. This approach has landed me two more jobs, meaning (low-paid) editing work pops into my inbox weekly. I consider it all training!

Laurie Duboucheix-Saunders

In the best of all possible worlds, editors with a proven record of training and experience should not have to take editorial tests.

However, personally, I have found that such tests have opened doors for me that would otherwise have remained closed. English is not my first language and my degrees in English Lit from the Sorbonne and the fact that I have been an Advanced Professional Member of the CIEP since 2016 are not enough to stop people from asking whether I can, or even should, edit or proofread an English text because I am not a native speaker.

I use that term even though it has become controversial in more enlightened editorial circles – where multilingual is preferred – because those editorial tests have allowed me to get work based on my abilities and expertise alone, regardless of where I come from. As with exams that are marked blind, they are an objective assessment of a candidate’s skills and knowledge.

As I write this, I worry that my argument could be used to support the use of editorial tests specifically for non-native editors. This is a million miles away from what I’m trying to say. A strong CV and proven training in editing English material should be enough for people like me to get the job. As it’s not the case yet, I’d rather take a test than be ruled out systematically simply because I am not originally from an anglophone country.

Louise Bolotin

Louise Bolotin

I’m not opposed to sitting editing tests, but I’m not wild about them. I believe my many years of experience and my Advanced Professional Member status in the CIEP should speak for themselves and indicate my competence. My CIEP directory entry, my website and LinkedIn profile are all places a prospective client can look at my CV, a sample client list and client testimonials. On that basis, I won’t take a test for a small company or a private individual such as an independent author. However, I might – if the job looks really interesting and I really want it – offer to do a free one-page sample. No more, and beyond that I’m happy to agree to a week’s (paid) trial or some such, to see how we work together. I do sit editing tests if required where it involves a major rolling contract. I recently took one for a government inspectorate, where passing the test was a prerequisite for joining the freelance pool. I’ve also taken tests for publishing companies for the same reason, but these tests should never be more than a couple of pages and should never take more than around 90 minutes to complete. If they are any longer, you should be paid for your time.

Caroline Petherick

While it’s reasonable for a client to want to have some indication of competence in a freelance editor or proofreader they’re thinking of hiring, the idea of testing a qualified and experienced editor is, in my view, not just out of date but near enough insulting.

As I understand it, the concept arose in the publishing industry in the mid-20th century, an era when many publishing houses were getting rid of their in-house editors in favour of freelance editors and proofreaders, who required less commitment, both financial and pastoral. That was (and still is) seen as an important move in this cut-throat industry.

Until the mid-20th century, copyeditors and proofreaders were quite likely to have been wives of publishers – and unpaid. That view of the profession lingered long in the publishing industry, to its financial advantage. Throughout the 20th century (and in some cases into the 21st), it clearly suited the publishing houses to continue to perceive the proofreader and copyeditor as lowly individuals at the bottom end of the status ladder.

But with the new freelance system, how could a publisher establish editorial competence? A test designed to include the classic traps was obviously deemed appropriate.

Now that we editors and proofreaders have made our mark as independent professionals, due to the formation of the SfEP – now the CIEP, a chartered organisation with registered members and clear status – it is clear that a potential client asking a CIEP member to take a test would be as incongruous a request as, for example, asking a qualified lawyer, designer or accountant – or even a Gas Safe engineer! – to do so. (To be fair, though, it’s probably only a few publishing houses who might still ask for a test. The myriad of other types of clients are highly unlikely to do so.)

The balance of power has changed. And not before time.

A sample edit is, however, as I see it, crucially important. And here, editorial professionals have an advantage over lawyers, designers, accountants and plumbers in their dealings with clients. In working on a sample, a CIEP member will not only be showing the client what work they’d carry out, but they will be assessing the text and, to some degree, the client. And then, having seen what the client produces, they’ll also be able to quote a fair price for the work. All part of the professional package.

Wrapping up: editing tests

This post has presented the opinions of four CIEP members on editing tests, and it shows the breadth of views there are on the topic.

Have you taken an editing or proofreading test? Or have you set one as a way to assess a freelancer’s abilities? Tell us more in the comments.

Ayesha Chari has written about her experiences of editing tests.

READ AYESHA’S ARTICLE

The CIEP is no longer using the terms ‘native’ and ‘non-native’ to describe English language familiarity and competence. Where these terms appear on our site or within our materials, it will be to honour an author with relevant lived experience or to highlight their problematic use.

For more information, please read ‘”Non-native” and “native”: Why the CIEP is no longer using those terms’.

September 2021

 

About the CIEP

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

Find out more about:

 
Photo credit: clock by Samantha Gades on Unsplash 

Editing tests, clients and the editor

We asked our freelance members for their opinions about editing and proofreading tests: tests set by a potential client to assess the freelancer’s suitability for the job. Here, Ayesha Chari shares what she sees as the pros and cons of editing tests.

You know that butterfly-in-the-stomach feeling? The dreadful one before your first big school exam or right before that driving test. Or the tingly one on the quick descent of the Ferris wheel, maybe even while going up and down those weightless lifts to floor infinity. I love the thrilling flutter as much as I hate the panicky one.

It does come as a surprise then that my academic and non-fiction editing career has been built almost solely on voluntarily subjecting myself to the anxiety of editing tests. The first one, for an in-house copyediting role and my first job straight out of university, I’ll never forget: ‘edit this in 1 hour’ was the instruction. This was a 30-page, two-column, single line-spaced, printed article on geospatial satellites gobbledygook. I had no idea whether ‘edit’ meant to correct spelling and grammar or make sense of content or something else. I also had no idea what any of what I was reading meant or where/how I was supposed to write in the thumb-width margins. I got the job.

Since then, particularly as self-employed, I’ve taken every editing test that has come my way, more often seeking them out from publishers and other organisations, definitely too many to keep count. Some with a vague one-line brief, others with a 50-page style guide and dozens of accompanying files and instructions. Some where I’ve set the deadline and the client has agreed, others that have invaded my browser and set running counters. Some that I’ve flunked, several others where I’ve come out on top. Why? Because the pros far outweigh the cons.

Pros

Taking editing tests for potential clients can help to:

  • quickly demonstrate expertise, training and professionalism to the client/employer
  • plant the seed for a relationship of trust with a new client/employer
  • self-assess skills objectively, whether you have formal editorial training and are starting out or are experienced and need to be kept on your toes.
  • build self-confidence (no pain, no gain, plus who doesn’t like a random ego boost?!)
  • identify areas that need to be strengthened or updated, subject/genre-wise or in technical expertise
  • acquire new knowledge or reinforce previous learning, both useful professionally regardless of performance on the test
  • improve time management and organisational abilities (e.g. following instructions of the test brief, editing to style specified, labelling files as asked, meeting deadline agreed or completing the test in the set time)
  • account for some unconscious bias in recruitment processes, very useful if you fit any non-traditional/non-dominant label as an individual but also as a language user (you can have multiple first languages and choose to use only one of them in your editing career – the test eliminates having to justify ‘otherness’)
  • find (and get!) the next big gig or dream editing job
  • lay the ground for negotiating your next big raise or up your freelance fees.

Cons

Taking editing tests for potential clients does not:

  • guarantee work, particularly if passing the test is a route to getting on a freelance list of editors (catch-22 situation: those more experienced on the list will invariably get offered work more often/first; without getting on the list and getting work, you can’t become more experienced)
  • give the whole picture of your expertise or transferable abilities to the client (I picked the wrong file topic on a timed test once, and everything went downhill from there)
  • help imposter syndrome on a bad hair test day (we’ve all been there)
  • save time when you already have little to spare (test results can take a few days, weeks, or months even, a contract several more, and a first assignment even longer)
  • account for all bias, unconscious or otherwise (so you may not bag the job even if you do well on the test)
  • alleviate fear of failure.

I’m unlikely to overcome the panic of taking a test any time soon, especially those rotten timed ones. But for the joy of a flutter, I highly recommend taking them. You might just get hooked (and make a career as I have)!

Wrapping up: editing tests

Tests are used by organisations to assess a potential freelancer’s or employee’s editing or proofreading abilities. They can:

  • build self-confidence
  • highlight development needs
  • reduce the influence of unconscious bias
  • form the foundation of a successful business relationship.

Have you taken an editing or proofreading test? Or have you set one as a way to assess a freelancer’s abilities? Tell us more in the comments.

We’ll be sharing more members’ opinions in a future post.

About Ayesha Chari

Ayesha Chari is a sensitive academic and non-fiction editor, who (much to the amusement of both the driving instructor and her partner) was once terrified of taking a test for a UK driving licence despite having driven in India for a decade, but who passed both the theory and practical tests on the first attempt.

 

 

About the CIEP

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

Find out more about:

 

Photo credits: butterfly by Patrick Lockley; ferris wheel by Michael Parulava, both on Unsplash.

What resources does the CIEP offer?

The CIEP offers a wide range of support and professional development material on proofreading and copyediting. In this post the Institute’s information team summarises the resources available to our members and to the public.

Here’s what we’ll be looking at in this post.

  • CIEP resources
  • guides
  • fact sheets
  • focus papers
  • the CIEP blog
  • newsletters and
  • what’s coming up in 2021

CIEP resources

Our information team works with experienced editorial professionals and industry leaders to provide trusted advice and practical knowhow on working with English language texts. These range from tips on getting started, gleaned from practitioners’ years of experience, to the fine details of editorial markup and proofreading etiquette, plus insights into evolving usage and when to recognise it’s an ‘it depends’ situation rather than a rule of grammar.

Guides

Our guides provide a basic introduction to the various skills and knowledge needed to work as an editorial professional.

On 1 February 2021, we published a revised edition of the Going Solo: Creating your freelance editorial business guide, written by Sue Littleford. CIEP members also have access to the Going Solo Toolkit, which includes a suite of spreadsheet tools to keep track of business records.

 

Fact sheets

Fact sheets are brief introductions to a topic or issue related to practical aspects of editing or proofreading, or working as an editor or proofreader. They aren’t comprehensive but give tips related to the topic and a list of further resources.

Editors work on all kinds of text, from marketing materials, theses and reports to blogs and websites. However, a core area of work for many editors is still books, for print or online publication. All books are different, but many adhere to a standard basic structure. This helps the author and the publisher order the information, but more importantly it helps the reader navigate the finished book, making it a truly useful and accessible resource.

FREE DOWNLOAD: Anatomy of a book

As soon as you agree to take on work for a client, or to complete a task for a colleague, you are under an obligation to ensure the work is completed as agreed. But whether you are a business owner or an employee you will always have other tasks on your to-do list: juggling expectations and moving deadlines, managing yourself and others, chasing invoices and marketing your services, as well as coping with personal matters that may have an impact on your capacity to work. Do you have a plan for how to cope if disaster strikes?

MEMBER RESOURCE: Building a business resilience and disaster plan

Focus papers

Focus papers explore an aspect of the English language or editorial practice that:

  • challenges assumptions
  • offers a new perspective on, illuminates or addresses a problem
  • helps readers better understand the value of professional editing, either their own practice or as potential users of editorial services (or both!).

They are written by well-known and expert names in their field, including CIEP honorary president David Crystal, linguist Rob Drummond and editor Sarah Grey.

If only the whole world had a language in common, war could be avoided. Thatʼs what LL Zamenhof thought when he developed Esperanto in 1887. Esperanto wasnʼt meant to replace anyoneʼs home language, but it would create a common ground for people from different backgrounds. It would make communication easier and more direct, reducing the need for go-betweens like translators and interpreters.

FREE RESOURCE: In a globalised world, should we retain different Englishes? by Lynne Murphy

Serendipitously, just hours after the CIEP asked me to write about whom, an email landed in my inbox. It included this: ‘Patients whom have already received notification …’.

MEMBER RESOURCE: To whom it may concern, by Jeremy Butterfield

 

The CIEP blog

The CIEP blog aims to provide useful and entertaining articles for anyone interested in editing, proofreading, the English language, starting and managing an editorial business, and publishing more widely.

Like many freelancers, I was hit hard by the pandemic. 2020 started well enough, including a huge two-month project for a Commission. But in the week before we went into lockdown last March, I ran into deep trouble. First, as businesses battened down their financial hatches, all the projects I’d had booked in up to mid-June were cancelled by my clients.

Reviving my editorial business, by Louise Bolotin

There are some words I should think about before saying them. Instead, I mispronounce with confidence and blasé out people’s corrections: ‘If-eat? Are you sure? All my French friends rhyme effete with tête.’ (The friends I have yet to make.) There are other words that I rehearse before sharing aloud, such as conscious and conscience. But present me with a dot dot dot and I dither between ellipsis and ellipses. It makes me sound like I don’t really know what it is or they are.

A Finer Point: Read my ellipsis, by Riffat Yusuf

Newsletters

We produce two bi-monthly newsletters: The Edit for members, and Editorial Excellence for anyone who wishes to subscribe. Both highlight new resources and blog posts on a particular topic or theme.

Coming in 2021 …

And there’s more to come … In 2021 we hope to publish guides on punctuation, editing recipes and cookbooks, working with self-publishers and editing scientific research articles. There will be fact sheets on well-being, software for editing and proofreading, and fact checking, and focus papers by Tom Shakespeare, Stan Carey and other well-known names. No doubt the wise owls will appear more than once on the blog, alongside articles about Plain English in fiction and sub-editing.

Wrapping up: CIEP resources

Now you know what CIEP resources are available, have a look at the ones that are relevant to you. Don’t forget:

  • You can download free fact sheets and focus papers (and even more if you are a CIEP member).
  • Guides provide handy introductions to the skills and knowledge needed to work as an editorial professional.
  • The CIEP blog is updated with new content regularly.

Which CIEP resource has been most useful to you so far? Which one are you planning to read next? Let us know in the comments. If you don’t already receive our Editorial Excellence newsletter, click on the button below to subscribe.

I’D LIKE THE NEWSLETTER

About the CIEP information team

Abi Saffrey, Liz Jones, Margaret Hunter, Cathy Tingle

Liz Jones, Abi Saffrey and Cathy Tingle are the CIEP’s information commissioning editors. If there’s a topic that you think could be covered in a blog post, fact sheet, focus paper or guide, drop the team a line at infoteam@ciep.uk.

 

 

 

About the CIEP

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

Find out more about:

 

Photo credit: man reading by Tamarcus Brown on Unsplash

 

Flying solo: Turn hindsight into foresight with checklists

In this new column, Sue Littleford looks at running an editorial business and how to make things more efficient and effective.

Checklists. Write them for your processes, use them consciously and keep them updated. Don’t try to make one checklist work for every type of job.

I could stop there, but we’re learning that the active use of checklists is a gamechanger in avoiding mistakes. The World Health Organization published the lifesaving (or merely inconvenience-saving) results of using checklists in 2008. In 2009, one of the drivers behind the checklist movement in medicine, Atul Gawande, published The Checklist Manifesto. Malcolm Gladwell is a fan. Also in 2009, Apollo astronauts called checklists their ‘fourth crewmember’. In 2019, Scotland reported that, since introducing checklists in 2008, surgical mortality rates had fallen by 37%. Checklists have been applied to air safety since the 1930s with great results.

Lives have been saved, money has been saved, time has been saved, reputations have been saved. What’s not to like?

Checklists help in three ways

  1. You need to think through your processes. Once you see them laid out in front of you, look for gaps and replication, and streamline your systems. That’s an immediate efficiency gain on every single job you do.
  2. They keep you focused. Don’t just glance down a checklist you’ve used a gazillion times and say to yourself, ‘Yeah, that looks OK, I’ve probably done everything’. Pay attention as you work through the list, and tick off each item deliberately. (Like exercise equipment, it doesn’t work if it stays in the box.)
  3. They reduce cognitive overload and anxiety. No need to rely on memory for all the steps, nor to worry you’ve missed one.

You could cover your processes for:

  • taking in a new job and setting up your skeleton records
  • communicating with others
  • doing the initial clean-up
  • converting US to UK English
  • maintaining adherence to the client’s style
  • maintaining consistency between chapters
  • final checks and polishing
  • handover and invoicing.

I’m sure you’ll think of more, relevant to your own practice.

Tailor your checklists to suit each client and their workflow, and each type of job. A proofreading checklist will look very different from a copyediting checklist, which will look very different from a manuscript critique checklist.

The cardinal error is to aim for one big checklist to cover everything. That’s a bad idea for two reasons:

  • you simply can’t cover everything. The unexpected happens, the novel happens; and
  • long checklists are confusing and difficult to follow. They become wearisome and self-defeating.

Instead, have a separate, short checklist for each part of a job.

What a checklist is not

It’s not a list of instructions. It doesn’t contain the detail of how you do your job. It doesn’t remove your autonomy (after all, it’s your checklist and you can change it). It’s also not your first attempt – you will find you need to refine it quite a bit, initially, as you figure out what you need to be reminded about to work well and consistently, as well as what you never forget, and therefore don’t need to include.

What a checklist is

It’s a set of reminders to do the stuff that would make you look stupid if you missed it, and to do the stuff you find you often forget, even though you know you should always do it. It’s your failsafe. And it’s a timesaver, as you work efficiently consistently.

What a good checklist is

It’s a practical, precise, brief and unambiguous reminder of the essential steps you need to take. It underlines your priorities, it stops you forgetting the important stuff in a moment of inattention and it makes you look good to your client or boss.

The big secret: checklists go out of date

I have a client that I’ve worked with for several years, starting out on books and then becoming the sole copyeditor for a journal. I could use the same checklist for both, right? Same publisher? Every time, I sighed heavily about bits of the checklist that were irrelevant, and about the extra bits I needed to remember to check, different for the journal and books. Then the publisher updated their style guide – about a fifth of the checklist was defunct.

Finally, I decided it was time to review the checklists I use most often. I realised that the core of my final-checks checklist had stayed essentially unchanged for about ten years. Ouch. What I’d needed to spell out for myself back then, now only needed a short reminder or could be omitted altogether.

I’d been dotting about the checklist because the flow was no longer logical now I’d matured as a copyeditor. If you’re jumping around your checklist, it’s no longer methodical; it’s an accident waiting to happen.

A checklist for checklists

1. Document your processes

  • List out what you do for each stage of each type of job and for each client.
  • Do you tackle these tasks in the most efficient and logical order? Shunt things around until the sequence is right.

2. Write a checklist that’s no more than one page long

  • If it’s longer, ask yourself why. Are you trying to write an end-to-end checklist? Stop! Short checklists work better than long ones. Don’t include details.
  • Write the checklist as bullet points, and use the empty checkbox symbol as the bullet (I like Wingdings character codes 113, 109 and 114. In Word, Insert tab > Symbols > Font > Wingdings > Character code).
  • Or set out the checklist as a table. I do that if I have to change a bunch of chapters from US to UK English, for example, with the chapters as the rows and each feature that needs attention as the columns.
  • Print out the checklist to use it. Physically tick things off as you complete each task. Your eye is less likely to betray you than working down an onscreen list, but if you’re really trying to reduce your use of paper, use highlighting or set up checkbox content controls in each list to ensure you miss nothing.

3. Set up each checklist as a template

  • As you start each job, open the final-checks checklist you’ll be using and save it specifically for that job. As you work on the text, add to the checklist any tailored checks you need to make at the end of the work – author’s tics, layout issues, anything at all that will add to the accuracy of the finished job.

4. Keep the checklist fresh to your eyes

  • It’s easy to stop paying attention to something you see all the time. To stop your checklists from becoming wallpaper, change the typeface every few uses.

5. Review your checklists

  • How well did the job you just finished go?
  • Were there any catches made at the last moment that could usefully be added to a checklist?
  • How well did the checklists support each aspect of the job? Has this client changed their style or requirements?
  • As you become more experienced, can your checklist be condensed?
  • Have you started using a new tool that should be added to a checklist – a new macro, perhaps?

6. Review your processes

  • You’re not standing still: with every job you gain experience and increase your competence. Review your processes periodically to check whether you’re being as efficient as you can – diarise reminders to do this, or maybe add it as the final item in the last checklist for any given job.
  • Review constantly: be alert to your weak spots. What does your eye tend to glide past? What tasks do you like least and may be inclined to skip or rush? What feedback have clients given you?

Thoughtfully crafted and well-maintained checklists turn hindsight into foresight. And that’s invaluable.

Sue LittlefordSue Littleford is the author of the CIEP guide Going Solo, now in its second edition. She went solo with her own freelance copyediting business, Apt Words, in March 2007 and specialises in scholarly humanities and social sciences. Before that, she had been the payroll manager for a major government department for some 14 years. Her whole career had been markedly numbers based – both in central government and in the private sector – even though she became the go-to wordsmith everywhere she worked. She eventually switched to words full-time, transferring her skills and experience to hone her business efficiency and effectiveness.


Photo credit: hand-written checklist by StockSnap, both on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

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