Category Archives: In-house life

Posts about working in publishing houses.

Authenticity reading. Part 2: Becoming an authenticity reader

In Part 1 of this two-part series, Crystal Shelley explained what authenticity reading is and isn’t, why it’s important and how editors can help their clients by recommending it when relevant. In Part 2, she shares how professional editors can add authenticity reading to their services.

Here’s what will be discussed in this post:

  • Decisions to sort out first
  • The process of doing the job
  • Where to find clients

Offering authenticity reading as a service

If you’re passionate about assessing writing related to your identities or lived experiences, you may consider adding authenticity reading to your services. After all, many professional editors are in a prime position to do this because working with clients, assessing writing and crafting feedback are all muscles that are flexed daily. Let’s take a look at some of the key aspects to consider when deciding to become an authenticity reader.

Preliminary decisions

Before you dive right into calling yourself an authenticity reader, there are some considerations to work through first.

Topics

One of the first decisions you have to make is what topics you’ll read for. What social identities do you hold that writers might hire you to assess? What unique experiences have you had? Think about the representation you’ve read that’s made you angry because it was inaccurate or harmful based on what you know or have experienced. That might be a topic you can read for.

Training

There’s no formal training that qualifies you to become an authenticity reader. That said, resources exist to provide information on what you need to know to offer this service, such as a recorded webinar and booklet from the Editorial Freelancers Association. Before I started offering authenticity reading, I also scoured the internet for articles and discussions about it, especially from the perspectives of authenticity readers.

Pricing

As with editing, there are no set prices for authenticity reading, so you’ll have to decide what to charge. I’ve seen fees ranging from £0.004 to £0.015 per word. You won’t be making direct interventions to the text but will instead be leaving feedback, so your working pace will likely be faster than it is while editing. At the same time, consider what you’re being asked to do. There is often emotional labour involved in authenticity reading, and you may be reading text that is harmful or even traumatising.

Your limits

Know what you are and are not willing to read. Many of the topics that authenticity readers assess are related to personal identity or lived experience, and there’s a chance that the writing might include representations of hate, bias, microaggressions or past traumas. If there are certain topics you won’t read, screen potential clients for this type of content before you agree to a project. There’s nothing wrong with setting boundaries and taking care of yourself, especially when you’re often being asked to approach writing from a place of vulnerability.

Doing the job

Once you’ve worked through the preliminary decisions, you have to be prepared to do the job. Your task is to use your lived experience or expert knowledge to provide feedback to the client, but what does that actually look like? Every authenticity reader has their own process, but these are the steps I go through for each project:

Set expectations from the get-go

In Part 1 of this series on authenticity reading, I outlined several common misconceptions about authenticity reading. In the proposals I send to potential clients, I dispel these myths right away because I want the client to know what they can and should not expect from authenticity reading.

Clarify what the client wants you to focus on

Some clients will simply say that they want a general read, whereas others have specifics they’re concerned about. I always check if there are certain areas the client wants me to pay attention to, such as terminology, whether an experience is accurate, or if a character is stereotyped.

Read the manuscript

I read the entire manuscript once, and I make notes of what works well and what should be reconsidered.

Leave comments in the manuscript

As I’m reading, I also leave comments in the manuscript, as I would in an edit. I want the client to know my impressions, and I leave feedback on specific elements of the writing. I’ll write a comment if a word gets misused, if a character’s description is problematic, or if I have a positive or negative reaction to something specific.

Write a report summarising feedback

I turn the notes I took while reading through the manuscript into a report. Because I mainly work on fiction, my report is usually broken down into sections on plot, characterisation, dialogue and behaviours, cultural elements and settings, and conscious language. If I have resources to share that will reinforce my feedback, I’ll include those as well.

Answer the client’s questions and concerns

Once I deliver the marked manuscript and report, I’ll answer whatever questions or concerns the client has about my feedback. This is usually done through email, but I also do phone or video calls if requested.

Finding clients

Once you’re ready to do the job, it’s time to find clients. There are many avenues through which to reach potential clients, and these are a few ideas to try:

Business website

Add authenticity reading to your website as an offered service. Be sure to list which topic(s) you read for.

Social media

Talk about authenticity reading on social media so that your followers know that you’re offering the service. I’ve also seen tweets when indie authors or publishers are looking for readers – you never know what’ll pop up. You can also join the Binders Full of Sensitivity Readers group on Facebook. (Please note that this group is for readers of marginalised genders only.)

Directories and databases

If you’re an editor of colour, join the Editors of Color database and sign up for the job list. Add authenticity reading (or sensitivity reading) to your CIEP Directory entry so you’ll pop up when prospective clients do a keyword search.

Publishers

Many book publishers and presses hire authenticity readers and maintain databases of freelancers. Consider contacting publishers to let them know you offer this service and what topics you read for.

Final thoughts

Authenticity reading is an important and rewarding part of publishing that you may want to consider dipping your toe into. Even if editors don’t formally offer it as a separate service, we can still leave feedback for writers based on our identities and lived experiences – to help writers avoid doing unintentional harm, and to help readers see more authentic representations of themselves and their experiences in writing.

Are you interested in becoming an authenticity reader? Let us know in the comments!

 

About Crystal Shelley

Crystal Shelley is a licensed clinical social worker and the owner of Rabbit with a Red Pen, where she provides editing and authenticity reading services to fiction authors. She is the creator of the Conscious Language Toolkit for Editors and serves on the Executive Committee of ACES: The Society for Editing.

 

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: Hours of happiness by Jr Korpa; Read by Ishaq Robin, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Authenticity reading. Part 1: What editors need to know

Authenticity reading, often called sensitivity reading, is a service that all editors should know about, because it plays a valuable role in the publishing process. In the first part of this two-part series, Crystal Shelley explains what authenticity reading is and isn’t, why it’s important and how editors can help their clients by recommending it when relevant.

Here’s what this post will cover:

  • Authenticity reading at a glance
  • Topics that authenticity readers assess
  • Common misconceptions
  • The value of authenticity reading
  • Recommending this service to clients

Authenticity reading at a glance

People want to see themselves, their identities and their experiences reflected accurately in media, but too often the representation on screen or in writing is problematic. One way in which writers can craft stories or text that’s accurate, respectful and validating to those being represented is to hire authenticity readers.

Authenticity readers, commonly called sensitivity readers, evaluate the way an identity or experience is portrayed in writing. They’re usually hired when a writer is writing about topics outside their lived experiences, where it’s easy to get things wrong.

For example, an author may write a story that features a character who has obsessive-compulsive disorder (OCD), and if the author does not have OCD, then their portrayal may be inaccurate, stereotyped or harmful. They can work with an authenticity reader who has OCD to evaluate the story and characterisation, similar to how one might consult a subject-matter expert.

Topics that authenticity readers assess

Many people have the impression that authenticity reading is only used for assessing race and cultures, but there are a variety of topics that can be reviewed:

  • Social identities, such as race and ethnicity, gender, sexual orientation, age, spirituality, disability, body size, socioeconomic status and neurodiversity. Authenticity reading is especially important when evaluating marginalised groups.
  • Experiences that are difficult to capture without having gone through them first-hand, such as being a family caregiver, going through the adoption process or working as a sex worker.
  • Subcultures that often require in-group knowledge to portray convincingly, such as military, gaming or fandom culture.

Common misconceptions

Those unfamiliar with authenticity reading often misunderstand what it is and what its intent is. Here are just a few of the common misconceptions I see:

Misconception #1: Authenticity readers seek to censor writers

This is by far the most widespread and damaging criticism of the service, and it’s also untrue. Authenticity readers provide feedback on representation, which allows writers to make informed decisions on how to proceed. A reader may recommend that the writer seriously reconsider elements of their story – or not tell it at all – but that’s out of concern for the harm that may result from the writing. Ultimately, writers aren’t forced to make a change, no matter how egregious their portrayals may be.

Misconception #2: One reader can represent everyone within a demographic

An authenticity reader can only critique based on their own opinions and experiences, and they do not act as a spokesperson for an entire group.

Misconception #3: Authenticity reading can serve as a shield from criticism

Some writers hire an authenticity reader in the belief that their work will become immune to negative reviews or publicity, which is not how it works. First, as mentioned, an authenticity reader does not represent everyone, so they can’t guarantee that another person won’t take issue with what’s written. Second, the writer doesn’t have to do anything with the authenticity reader’s feedback, so just because an authenticity reader has worked on a project doesn’t mean they approve of its contents. Writers should hire authenticity readers because they want to write respectful, accurate representation – not because they want a pass.

Misconception #4: Authenticity reading is used only for fiction

Authenticity reading can be useful for any type of writing, not just for fiction. Whenever a writer is writing about topics or experiences outside what they know, especially those that should be handled with nuance or sensitivity, an authenticity read may be beneficial. I’ve read textbook passages and non-fiction guides as an authenticity reader.

The value of authenticity reading

Developmental editing, copyediting, proofreading, formatting, indexing – all of these have their place in the publishing process. While they each serve a different function, they all work towards the same goal: giving readers the best experience possible. Authenticity reading also plays its part, and these are only a few reasons why it’s a valuable service:

When writers write outside what they know, there’s room for error

And when those errors result in misrepresenting, stereotyping or erasing the identities and experiences of communities – especially those that are marginalised – harm can result. Authenticity readers can help minimise that harm.

Research can only go so far

Even if writers do their due diligence by seeking resources to help them understand the unfamiliar, they may not be able to capture it accurately or authentically. Authenticity readers can help fill in writers’ knowledge-gaps and strengthen the work.

Harmful representation can lead to damaging consequences for writers

When representation is poor or harmful, readers might leave negative reviews, critics might blast writers on social media or publishers might cancel contracts. These can all lead to financial losses for writers. Authenticity readers can help writers avoid the mistakes that lead to outcry before publishing.

Recommending this service to clients

Editors are educators who talk with clients about various stages in the publishing process, such as developmental editing, proofreading, indexing and book design. Authenticity reading is a service that editors can talk with clients about too.

We are usually among the first people to read a piece of writing, so we’re often asked for our impressions of the text or the story. If we’re working on a project that we think may benefit from an authenticity read, we can check with the client about whether they plan to work with someone who has first-hand experience of the topics being covered.

If you want to recommend that a client hire an authenticity reader, here are a few options you can suggest for their search:

Wrapping up

Authenticity reading has been around for many years, and it’s only now becoming more understood – and used – as editors, writers and publishers witness the harm that can be done by inauthentic or problematic representation. Editors who recognise the value of this service and who know how to talk to clients about it can be part of the process of doing good. In part 2, I share what you need to know to become an authenticity reader.

About Crystal Shelley

Crystal Shelley is a licensed clinical social worker and the owner of Rabbit with a Red Pen, where she provides editing and authenticity reading services to fiction authors. She is the creator of the Conscious Language Toolkit for Editors and serves on the Executive Committee of ACES: The Society for Editing.

 

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: waves by Joshua Oluwagbemiga; book shelves by CHUTTERSNAP, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

When publishing contacts move on, and how to keep moving as a freelance editor

Leena Lane reflects on the importance of career moves and development – for freelance editors and for the people they work with – and focuses on thoughts regarding:

  • career paths
  • choosing freelance or in-house
  • networking
  • benefits of CIEP membership

I often take 15 minutes before starting work, especially on Mondays and Fridays, to scroll the news headlines across both current affairs and updates within the publishing world.

Posts which can make me both joyful and wistful at the same time are the ‘I’ve got news’ tweets. An individual who has been my main contact at a publishing house is making a career move to another company or is going freelance themselves. This has happened twice since COVID-19 hit and is no real surprise as people reflect on their lifestyle and commute, their career path, or just feel the need for change.

Despite working remotely as a freelancer, and having shared the stress of many deadlines and also those punch-the-air moments of success, I often come to regard these clients as ‘colleagues’ of a sort. When they move on, it stirs up conflicting thoughts and feelings.

Sadness

I’ll miss them! They’ve been great to work with and a friendly contact over many years. Sometimes I’ve known them start as the newbie enthusiastic/stressed editorial assistant, move up within the company to assistant editor, commissioning editor, and then move away to be editorial director.

Excitement

I’m genuinely pleased for the individual – their skills, character and contribution have been recognised and rewarded. They’ll be fabulous at their new position.

Trepidation

In the past, losing a personal contact has sometimes meant losing regular work with that company – how can I prevent that happening this time? How can I make contact with their replacement? How can I shine out from the pool or list of freelancers they’ll see on arrival, and how can I cultivate relationships with a wider team at the same company?

Opportunity

New doors to push? As they move on, might they be able to use my services within their new company, or introduce me to someone who will? Time to polish the website, Twitter profile, CIEP Directory entry, LinkedIn profile, etc, and prepare for some self-marketing.

Wistful reflection

After ‘slowing down’, even just for a year, in terms of career-focused work to start a family, it can be challenging to make it back to where you hoped to be. Relatively few publishers offer part-time or job-sharing as a serious option for key editorial roles.

Though many people appear to succeed and ‘do it all’, a long commute, high childcare costs and having no family locally made a full-time in-house position increasingly difficult for me. I started freelancing to bridge this phase of life until I could find the right in-house role again, but it has quietly turned into a more permanent path.

There have been many pros:

  • the rich variety of clients and projects
  • flexibility
  • focus groups in my own house (aka lots of bedtime stories, Middle Grade critiques and YA rejections)
  • focus groups in my community (aka being a primary school governor and seeing what parents, teachers and children are really reading, needing, thinking).

There have also been some negatives:

  • missing that buzz from being part of a regular team
  • lonely moments
  • erratic income at times
  • and a few regrets:
    • Should I have tried to get promoted one more level before having kids?
    • Should I have taken less parental leave?

Constructive reflection

As a freelancer, how have I still tried to progress in my career?

This is where the CIEP has been instrumental in keeping me on track and also in strengthening my resolve that being a freelancer can be just as fulfilling and valid for me as being an in-house editor.

Since joining, and upgrading twice, I’ve come to appreciate this group of editing professionals more each year: some on a similar path juggling career and family; some going freelance to provide variety they perhaps couldn’t find within just one publishing company; others continuing to work in-house − all striving to provide excellent editorial service within the industry.

One fantastic resource to guide career progression is the new CIEP Curriculum for Professional Development which details what editors and proofreaders need to know, and how they can acquire that knowledge.

In lockdown I’ve finally met up with my regional group, albeit on Zoom, and have bounced ideas around and received some really valuable tips and advice from both new and experienced members. The CIEP’s annual conference – online in 2020 and 2021 – is a wonderful opportunity to meet with editorial professionals, to learn and to laugh.

As I turn back from news-scrolling to my current project, I congratulate those moving on and progressing in their career in publishing, especially those who are, only now in 2021, finding chinks of fairer access and representation – there’s still so much more to be done. Within the community of the CIEP, I feel challenged to stay alert and fresh in my own career.

About Leena Lane

Leena Lane is a Professional Member of the CIEP  and is a member of its Berkshire local group and Run On. Leena provides editorial services to publishers and authors, specialising in children’s Middle Grade and Young Adult books. She’s committed to making stories more representative for all young readers.

 

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: signposts by Javier Allegue Barros; doors by Robert Anasch, both on Unsplash.

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 corporate editor

Books aren’t the only collections of words that need editing. Corporate editor Louise Marsters shares her experience of communications, brand and business publishing, including the types of projects that need an editorial eye.

People can get very excited when you say you’re an editor. They think: best-selling books! Glossy magazines! Influential newspapers! Their enthusiasm drains when you clarify: ‘corporate stuff – you know, like annual reports and accounts’. ‘Oh, right,’ they say.

Little do they realise the reputation-enhancing effects to a company or brand of a well-told story or clearly communicated strategy – and how visual identity can pull the words together.

Dry but fun

Let me come clean: I wanted to be a dentist. But school physics and chemistry required an application that I couldn’t muster. English, meanwhile, seemed to require no application at all. It just clicked.

A business degree in communications followed, as did junior marketing communications jobs at a couple of corporate law firms. The only aspect of the work that I genuinely loved, though, was the writing and editing: client newsletters, legal manuals, tender responses. Dry stuff – but if I, a non-lawyer, could make sense of the content, the clients stood a chance too.

One of those firms was big enough to have its own publishing team. Writing and editing was all they did – all day. And they needed another member. The dry stuff was supplemented with whizzy brochures, website and intranet content, annual reviews, pro bono reports and, the holiest of grails for me, a new style guide. Getting to grips with design, photography and branding was all part of the deal – and the fun.

Just do the words

Thinking some more study might help my career prospects, I did a master’s degree in communications and media, before packing a (very large) bag and leaving Australia for the UK.

Another law firm job ensued (sigh) but it wasn’t long before the expat bush telegraph in London spread word of a job at a multinational oil and gas company – in corporate reporting.

‘In what?’ I spluttered. ‘The annual report and accounts? But I’m not an accountant.’

‘No, you just do the words,’ they said.

‘Oh, okay. When do we start?’

‘September, for publication in April. About 180 pages. And you have to put together the annual review and the financial and operating information at the same time. And edit the notice of meeting. Then, in the summer, you can research our competitors’ annual reporting suites and project manage a big report about energy economics. Oh, and sort out the style guide.’

Gulp.

Mission control

‘Doing’ corporate reporting meant project managing, working with designers, writers, printers, typesetters, photographers and online gurus, not to mention senior executives, board members, the company secretary’s office, content providers, lawyers and accountants – across the UK and the US.

Everyone ‘in house’ was an author or an approver. And their opinions (down to how the name of a report should appear on its perfect-bound spine) were as varied as the audiences (aka stakeholders) for whom the financial reporting publications were destined: investors, analysts, regulators, auditors, employees, customers, journalists.

I was mission control, scheduling, cajoling, influencing and, alongside those more senior, diplomatically helping the company to agree a single, unified story for the year. Only then could I copyedit the content, collate changes, query, get sign-off and submit for typesetting.

Proofreading – what felt like the purest of the editing work – came for a week or two (or three) before ‘going on press’ for each project. We’d camp out in a meeting room for the duration, bulky A3 proofs methodically arranged across the table and floor, bulldog clips and red pens in plentiful supply. Bliss.

Words before politics

After six ‘seasons’ of corporate reporting, it was time to move countries again: this time Switzerland. Not speaking much of any of its four official languages meant that working in a communications or editing capacity was as likely as my becoming a champion skier. The answer? Freelancing.

The network I’d built up and the lessons I’d learned from 12 years of corporate life meant I had a valuable launch pad.

I worked first for people I knew and who knew how I could help them. Then, as they moved around, they’d seek me out again, or new clients would find me. Being able to focus on words, not politics, was an unexpected upside.

Joining the CIEP was another upside. Training, upgrading, being mentored – plus the famous directory – all helped professionalise me as an individual editor, when I didn’t have a company name or job title to offer instant credibility.

Reputation, reputation

Fundamental to editing for a business or brand is understanding that the quality of what they publish is essential to their reputation.

Clients worth working with can see that editing is a crucial quality-control tool in producing professional communications – communications that enhance credibility and inspire trust. And they needn’t be big companies. Niche consultancies and independent charities, for example, have the same reputational needs.

Now back in the UK, this corporate editor’s work recently took in:

  • proofreading brand and imagery guidelines for a global management consultancy
  • proofreading a review of past financial reporting for a FTSE 100 pharmaceutical company
  • proof-editing the ESG (environmental, sustainability and governance) section of an annual report for a FTSE 100 beverage company
  • proofreading and cross-checking the print and interactive website versions of an annual report for a global engineering and architecture firm
  • developing detailed writing and editorial style guidelines for a large independent charity aiming to professionalise its communications
  • copyediting (and partly copywriting) the content of the same charity’s annual report to create a consistent tone of voice

and even included:

  • proofreading – out loud, in a pair – the financial statements of an annual report for a FTSE 250 food ingredients company
  • filling in every single page number and cross reference of a 152-page annual report for a British fashion brand

… but not all in one week!

Lately I’ve also:

  • attended a webinar about how companies will soon be obliged to report against the Task Force on Climate-related Financial Disclosures
  • written a blog piece for the CIEP
  • agreed ongoing work with a niche investment pitch agency to edit business plans for start-up companies
  • cast an editorial eye over friends’ websites, flyers or articles, for respite.

Words in context

I often feel there’s been a perverse logic to my career. Having started in broad marketing communications roles, I’ve managed to narrow work down to the ‘bits’ I really like: words, grammar, tone, style. But it’s that broadness that gives you the context in which those bits sit – and allows you to deliver a meaningful edit. And, yes, I genuinely love that.

About Louise Marsters

Louise Marsters edits communications and business content for corporate clients. Working in-house in corporate and financial communications taught Louise to shift her brand from ‘perfectionist’ to ‘pragmatic perfectionist’. Her colleagues even developed a strapline: Has it been Louise-d? Louise is a Professional Member of the CIEP, and a member of the plain language organisation Clarity.

 

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: Louise’s headshot by Jeremy Mason; report by San Kaÿzn on Unsplash; lighting by Etienne Girardet on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Planning for your financial future: top ten areas to consider

Self-employment brings with it many benefits, but not often financial predictability. Some months, it’s all about bringing enough income in to pay the bills. Paul Hammett looks at where to start if you’re looking towards your financial future.

I’ve been a financial advisor for 30 years, and have talked to a lot of clients about how they can plan for the future and make the most of their money. This article lists the top ten areas to consider.

1. Do you need life insurance?

The vast majority of people with children should consider life insurance cover. When did you last look at your life insurance arrangements? Is your life insurance up to date, appropriate, and held in trust? If you or your partner has company benefits, make sure you complete a nomination form to ensure the money passes to who you want it to.

2. Do you need income protection?

This is an area that many people overlook. Have you considered protecting your income in case you are unable to work? Income protection plans can be expensive, but what would happen if you were unable to work for a time due to an accident or illness? How would you pay your mortgage and bills?

3. Get a forecast of your state pension

If you’re in the UK, visit gov.uk/browse/working/state-pension to obtain accurate, up-to-date information about your state pension: this website will tell you how much you will receive and when it will be paid. In future, you will actually have to apply for a state pension instead of your pension automatically starting when you reach retirement age. This will give you an idea of how much you will have to live on in retirement, and you can start to consider personal pensions to top up your state pension. If you’re based elsewhere, check your state pension provider for similar.

4. Check your previous pensions

If you have paid into any pensions, when did you last review their value? You may have a pot of money: is it in the right fund for the level of risk you’re happy with? How has your fund performed? Have you completed a beneficiary nomination form so that, if you die, the money will go to your partner or children? This is a complex area so it’s often best to seek expert advice from a financial advisor who specialises in pensions.

5. Make a will

Have you made a will? If so, when did you last review it? Is it still relevant? Are the executors still the people you would choose, or are they old friends who have since moved away and you’re no longer in contact? This is important: the people you choose will have to administer your will and carry out your wishes, so you must be able to trust them.

6. Safe as houses: is your mortgage the best one for you?

A house is the biggest purchase most of us will ever make, yet many people stay with the same mortgage provider for years and don’t review their mortgage. Many of these are interest-only mortgages with no form of repayment vehicle. Make sure this is not you! Mortgage companies in the UK are now writing to homeowners to check that they have a repayment vehicle in place. An ISA is the most common repayment vehicle today, but you may have an endowment if you took out your mortgage some time ago. If you want to restructure your mortgage, most lenders will insist it is done on a repayment basis (so your mortgage is repaid by the end of the mortgage term). Ask your mortgage lender for advice, or see a mortgage advisor.

7. If you can, overpay your mortgage

If you’re happy with your current mortgage deal, I strongly recommend that you take advantage of the current low interest rates and think about making monthly overpayments, however small. You will be amazed at the difference this makes to reduce the term of your mortgage. If you can afford to overpay now and get used to paying the higher rate each month, when interest rates start to go up, as they probably will, this gives you a buffer against your monthly mortgage increase. For example, imagine your mortgage is £500 per month but interest rates go up and you have to pay £600 per month. If you’re already overpaying your mortgage and paying £600 per month, you won’t notice this increase.

8. Review your income and expenditure

Once a year, make a coffee – or a pour a glass of wine – then sit down with whoever shares your financial decisions and list all your income and outgoings, to find out where all your money goes and to see whether you can make any savings anywhere. Be honest with yourself: if money is tight, is paying for Sky Sports or having a takeaway latte every day more important than paying for life insurance to protect your children should the worst happen? I advise clients to do this exercise separately then come together to compare their lists – they may look quite different!

9. Carry out an annual business review

When you’ve finished talking about your personal income and outgoings, do the same for your business. Do you know all your running costs? Without doing this, how can you quote for any work or know what you need to charge to cover your costs?

There’s more advice on this in Going Solo: Creating your freelance editorial business by Sue Littleford.

10. Shop around to get a better deal

Rather than clicking on ‘renew’ when an insurance renewal notice drops into your inbox, why not look at price comparison websites to see if you can get a better deal? Try moneysupermarket.com, comparethemarket.com or confused.com. A lot of companies give introductory discounts, so changing insurer means that you save money. The same goes for gas and electricity: check out moneysavingexpert.com/utilities/you-switch-gas-electricity/

Putting the pieces together

Financial planning is like a jigsaw. You may not have all the pieces, but the more you can collect and put in place, the prettier the picture you will make – and the better your financial future will look.

Don’t be put off if you can’t take action on all of these suggestions. Prioritise the list for your circumstances, then review it every year to see if anything has changed.

About Paul Hammett

Paul Hammett specialises in giving advice on investment and pensions, providing an all-round financial planning service to help clients meet their financial goals. He enjoys advising clients and their families over the long term, and has worked with many clients for over 20 years.

 

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: coins by Nick Fewings; house by Tierra Mallorca, both on Unsplash.

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 senior editorial manager

By Wendy Shakespeare

I’m the senior editorial manager at Penguin Random House Children’s, having joined Penguin Books as a copyeditor for Puffin in 2006. I’m in what we call the Ed2 team: it’s a term unique to Penguin Books, where the editorial teams were traditionally split into Ed1 (focusing on acquisition and development) and Ed2 (focusing on copyediting and proofreading). Decades ago, Ed2 copyedited and proofread Penguin and Puffin titles, and the marked-up manuscripts and proofs would be reviewed by a managing editor. My team manages the copyediting and proofreading stages of our children’s titles, and we also manage editorial schedules, ensuring that we meet our print deadlines. This means that we regularly liaise with Ed1 editors, Design and Production, as well as with authors and freelance copyeditors and proofreaders. We check everything from the books themselves, including the covers and ebook editions, to material like pitches, the rights catalogues for book fairs, and non-trade publishing such as special Dolly Parton’s Imagination Library editions. Over the years, I’ve had the privilege of working on titles by such inspirational and brilliant authors as Malorie Blackman, Jeff Kinney, Eoin Colfer, Tom Fletcher and Jill Murphy, and I’ve worked on our bestselling brands, such as our Dahl publishing, Peter Rabbit, the Very Hungry Caterpillar and Spot (yes, we’re still trying to find him!).

My role combines the functions of a desk editor and managing editor, reflecting the two key aspects to my role: editorial standards and editorial processes. I head up a Puffin Ed2 team of four (including me). We’re responsible for checking titles published by Puffin, which spans fiction and non-fiction books for children of all age groups from toddlers to young adults, as well as publishing partnerships with the BBC, V&A Museum and the Imperial War Museum. We also have Ed2 teams for our Ladybird Trade and Licensing and Ladybird educational lists. In any given week, I’ll be working on fiction and non-fiction titles, picture books, illustrated middle-grade novels and Young Adult (YA) novels, and I’ll most likely be involved with conversations for about thirty or so titles. This could include: checking copyedited manuscripts; reviewing ebook editions; completing typesetting briefs; booking copyeditors and proofreaders (and sending them feedback); collating proof corrections; proofreading picture books; checking covers; discussing schedules; liaising with authors to talk them through the editorial process for their titles and to discuss the copyedited and proof corrections; and liaising with Ed1, Design and Production to ensure that titles are running to schedule. In addition, I run a weekly report from our bibliographic system to have an overview of our publishing programme and deadlines.

Editorial standards

Not only do I copyedit and proofread text if required (and indeed if I have time to do so) but I also review text copyedited and proofread by our freelancers. However, my aim is not to pick holes in their work but to enrich my own editorial knowledge and to see whether it’s helpful to offer constructive feedback, and if any further guidance might need to be added to our house style guide. I might also see if I can resolve any queries, if appropriate, that they have raised. (While writing this, I’m reminded that I need to also give specific positive feedback more often!) When checking proof corrections, I’m always mindful about what is being corrected and always give consideration to what we might be able to do differently at the copyediting stage to minimise proof corrections. For copyeditors working on a series, I might share the proof corrections as well as the tracked copyedited manuscript (MS) as a reference for when they come to work on the next novel in the series. Thinking about grammar, spelling and punctuation is one of the things I love most about my job, and so what I miss most as a result of working remotely is that I don’t get the chance to have impromptu editorial chats with my team. However, I’m glad that we have a chance to have such conversations as part of the house-style workshops I’ve started running via Zoom.

Editorial processes

We need sensible and clear processes to ensure that everything that needs to be done is carried out correctly and to schedule. Having a strong grasp of the processes also means that we can adapt when the schedule is challenging (in other words, when it’s super tight!). It’s also essential to have this clarity when you’re juggling thirty titles! The processes are ever evolving, but the framework of the processes that we have in place is the result of years of observation and consideration of what needs to be done, and I’m always thinking about what we can do better. These processes are at the forefront of my mind when I have monthly catch-ups with publishers, art directors and the senior production manager, as I talk to them about what’s working and what can be done better or differently – by both my team and theirs. I really enjoy this aspect of my job because I love trouble-shooting and it’s gratifying when things work smoothly.

This current lockdown situation has its ups and downs. Being able to work quietly at home is obviously a bonus. However, this situation has highlighted how important communication is to what we do, because you can no longer pop over to someone’s desk to discuss a project, so it’s necessary to have regular catch-ups over Zoom. I could have between three and fifteen meetings in a week. Here’s a summary of the meetings that I have:

  • Weekly: Puffin Ed2 team (where we run through our workload over the coming week); the wider Children’s Ed2 team (so that we can check in on how everyone is doing, so no one feels isolated); editor and designer for one of our key brands; up to two start-up meetings for new acquisitions, in which key stakeholders from Ed1, Design, Production, Sales, PR, Marketing and Rights discuss what is required for the new title.
  • Fortnightly: direct reports (to check on their wellbeing and to discuss any work issues); WIP (work-in-progress) meeting (Ed1, Design and Production meet to check that everything is running to schedule). Our MD and CEO are also endeavouring to keep us all connected by having regular briefings, to share news and information about the Children’s division and the company.
  • Monthly: line manager; publisher; art director; senior production manager (all catch-ups to discuss any top-line issues that relate to our editorial processes and workflows). I’ve also recently started to run Zoom workshops with the Children’s Ed2 team, to discuss specifics such as queries about house style and editorial processes.

One week

To give you an idea of what I do in a typical week, here’s a snapshot of the first week of June.

  • Assisted an editor by converting a PDF from the 1990s to recognise the text and then exporting it to a Word document so that we can use the text to create a revised edition for younger readers.
  • For a particular frontlist non-fiction title, I had a Zoom call with Ed1 and Design to talk through a tight schedule and to agree what needs to be done; sent MS out for educational and fact checks. I also looked at the proposed text design guide for this title and offered feedback.
  • Had 13 meetings ranging from individual, team and project catch-ups to a briefing from our CEO.
  • Led a one-hour workshop on our house style for our Children’s Ed2 team (so it included Ladybird Ed2). We discussed chapter headings (spelt out or numerals), widows and orphans (when to fix and when to stet), hyphenation, capitalisation and numbers. Essentially we follow New Hart’s Rules, but there are always going to be grey areas and it’s great to have a space and time to discuss these details, and share our thoughts and experiences in order to strengthen our own editorial knowledge. There will be further workshops as we work our way through our house style guide, with the aim of having an updated guide later this year.
  • Liaised with a US editor to approve text changes for the UK edition.
  • Liaised with editors for 16 different titles. Tasks included: confirming schedule dates; checking proofreading deadlines for picture books; suggesting the ideal editorial process for new titles; reviewing illustration briefs and layouts for illustrated titles.
  • Liaised with three different authors to talk through key dates and the editorial process for the titles.
  • Proofread a 176-page non-fiction title and sent a summary of my notes to the editor for review (to decide whether anything needs to be stetted).
  • Reviewed invoices from freelance copyeditors and proofreaders.
  • Reviewed an editorial process for marketing proofs.
  • Sent proofs for five titles to respective authors and proofreaders.

The variety of the books that I work on and the different tasks that need to be done mean that my working week is never dull. I’m generally rather busy, but I love all the books we publish and I couldn’t ask for better colleagues and authors.

Wendy Shakespeare is a senior editorial manager at Penguin Random House Children’s. She works on Puffin titles, which range from short picture books to YA novels. She has been in the industry since 2001, and joined Penguin in 2006 as a copyeditor for Puffin Books, which became part of Penguin Random House Children’s seven years later.

 


Earlier in the year, Lorraine Beck shared a week in her life as a picture researcher.


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.

 

 

 

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.

Dealing with imposter syndrome

By Lisa de Caux

The Manchester CIEP local group meets every three months, and chooses a discussion topic in advance. ‘How to deal with self-doubt, lack of confidence and imposter syndrome’ was a very popular topic with those who attended the January 2020 meeting.

The Oxford English Dictionary defines imposter syndrome as ‘The persistent inability to believe that one’s success is deserved or has been legitimately achieved as a result of one’s own efforts or skills’. Meanwhile, googling ‘imposter syndrome’ brings up more than three million search results. And a quick survey of the CIEP’s forums reveals that it’s a problem familiar to many editors.

I posted on LinkedIn ahead of the meeting to elicit thoughts on #ImposterSyndrome. I had a fantastic response, and people were so willing to share their experiences, just as they were later in person. We had a lively and engaged meeting – we all had stories to share, from the newbies among us to more experienced members.

This post covers what came out of that meeting, focusing on imposter syndrome and editorial professionals. I’ve included a list of helpful resources at the end.

What is imposter syndrome?

I’ve shared the dictionary definition, but let’s talk about it in a less formal way. It’s the feeling that ‘I’m not good/qualified enough’. It’s about self-doubt and lack of confidence. We set ourselves exacting standards as we work on clients’ projects, and this tends to carry through into the standards we set for ourselves and our businesses. You don’t want to feel as though you haven’t met your own expectations.

Most of the people at our meeting were freelancers, so we concentrated on this area. As a freelancer, especially working from home on your own, you can experience feelings of isolation. While one of the benefits of being a freelancer is a lack of structure, which allows self-direction and taking control of your business, the flip side of this is there is no one to automatically check in with you. When you’re an employee, you have appraisals and regular meetings with your manager to provide validation, and you have conversations with colleagues about questions and minor hiccups while making a cup of tea. As a freelancer, there is no built-in interaction with people – you must build it yourself. It’s one of the reasons the CIEP’s forums are so popular – they provide a chance to talk to others who understand where you are coming from.

The CIEP has a newbies forum, where I posted about imposter syndrome after our meeting. It struck a chord with a lot of members. While imposter syndrome may be more common for newbies, it can come back in waves for more experienced professionals. As we moved through our meeting, we talked about how imposter syndrome might be triggered by changing your business’s direction (for example, moving from non-fiction to fiction) or by taking the next step professionally (for example, upgrading to a higher level of CIEP membership). Instead of taking pride in your achievement, you may feel anxiety in case people think that standards must have dropped for you to have succeeded. When something new and unexpected happens, you may feel that you *should* have known. Then imposter syndrome builds up and you discount your experience.

Recognising it

Whether you’re a newbie or an experienced editor, imposter syndrome reflects the level of stretch you’re going through and how far out of your comfort zone you are. We all agreed that it’s particularly important to acknowledge this feeling if it starts to take over more of your thoughts. It can impact your mental health, and then you need to take action. We talked about the practical impact of imposter syndrome too – for example, the knock-on effect on the way you quote for work. Imposter syndrome can encourage you to be apologetic about raising rates, especially for existing clients. Whether you’re thinking about your mental health or the practical impact, a strategy to cope with imposter syndrome needs to be found.

Overcoming imposter syndrome

The group suggested lots of ideas. Some come from external support (for instance, talking to people) and some are internal support mechanisms (like creating a win jar). What suits one person won’t necessarily suit another. Call it what you will – this is an individual demon/monster/battle to face.

We recognised that, as a newbie, you have less experience and less chance of positive feedback to turn to. At this stage, talking to people is so important. Then, as you complete more projects, you will, hopefully, receive good feedback. An even better weapon against imposter syndrome is repeat work. It’s a real vote of confidence in your service. Although experience brings great benefits, we spent a lot of time talking about coping strategies that are useful to all.

Coping strategies

You can record positive feedback in a notebook, a ‘sunshine file’ or a ‘win jar’. You could have a gratitude journal. It’s so useful to have tools that you can constantly keep updated. A ‘win jar’ is a jar you keep on your desk, where you leave positive feedback (for instance, a complimentary email). If you feel like you need it, reach in and pull out a win to read. A sunshine file is a similar concept. Since our meeting, I’ve created a Word document where I save screen shots of positive feedback.

Another way to cope is to understand the value that you provide – not everyone can do what you do. How do you track improvements over time? What experience and training do you have? When you’ve found a typo or factual error, what impact would it have had on the document if you hadn’t found it? Keep track of these achievements!

At the meeting, we were keen to embrace talking to friends and colleagues – CIEP local groups and forums really come into their own here. Attending face-to-face courses or professional development days can provide reassurance about what you do know.

Finally, our conversation moved gently into the positive side of self-doubt. A little (in moderation) will keep you learning and trying harder. It will improve your business. It may lead to a particular type of training. I was surprised to discover that a long course (like the PTC proofreading course) is not completed by everyone who signs up for it. Completing training acts as a confidence boost!

There’s such a lot to think about – at the end of the discussion, we were all ready for our mid-meeting comfort break.

You are not alone

I’ve focused on the editorial profession, but imposter syndrome does not have industry boundaries and it does not respect your level of experience. I recently caught up with a friend who’s an oncology consultant. I explained about writing this blog and asked if she’d come across imposter syndrome. She smiled in recognition – yes, she often feels it and often talks about it with her medical colleagues.

Every conversation gives me the clear message: you are not alone.

A lot of us are going through it, including the people you assume are absolutely fine. You can find a coping strategy that suits you. My own battle with imposter syndrome will continue, I’m sure. If you’re battling too, I wish you the very best!

Helpful articles and blogs

Mental Health Today: Imposter syndrome
Northern Editorial: Time to kill the monster
KT Editing: Imposter syndrome and editing
The Avid Doer: Imposter syndrome: Intuition in disguise?
Harvard Business Review: Overcoming imposter syndrome
Louise Harnby: I’m a newbie proofreader – should I charge a lower fee?

 

 Lisa de Caux is a CIEP Intermediate Member and coordinator of the Manchester CIEP local group. She specialises in editing and proofreading for business. Lisa is a career changer, and spent many years as a chartered accountant before becoming a proofreader.

 


Face-to-face interaction with peers can help with imposter syndrome and provide a great boost to confidence and motivation. A recent blog post covered upcoming in-person CPD, and the CIEP’s local groups meet regularly. (And don’t forget that booking for the first CIEP conference opens later this month!)


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.

The Book Trade Charity

By Gerard M-F Hill

Every year, members of the CIEP do their bit to support The Book Trade Charity (BTBS). Why? What does it do?The Book Trade Charity (BTBS) logo

It helps anyone who is working or has worked in the book trade – editors, proofreaders, indexers, printers, publishers, binders and booksellers, for example – and is in difficulty.
Suppose you fall seriously ill, you have no family support and you can’t work for a while: how will you pay the bills? Imagine you are offered a job interview, or even a job! What will you do if you haven’t the train fare? Perhaps you want to retrain and can’t afford the course? What if you suddenly find yourself out on the street? Divorce, redundancy, a failed client leaving you unpaid, a partner’s terminal illness: any of these might exhaust your resources.

In such situations The Book Trade Charity gives welfare grants – very quickly in emergencies – but it also supports people needing help over a longer period, from those on benefits and pensioners on low incomes to young interns on even lower incomes. It can help with the deposit for a flat, repairs to a boiler or replacement of a fridge. As well as helping older people who have fallen on hard times, it is now giving more attention to young people at the start of their working life, with career guidance, financial help and accommodation.

Established in 1837, the Charity has attractive flats, bungalows and cottages available to rent. These began with John Dickinson, the paper manufacturer, who gave the land where in 1845 he built the first almshouses for “decaying booksellers assistants”. Following a merger with the Bookbinders Charitable Society (founded 1830), it now owns 59 properties – 22 at Bookbinders Cottages in north London and 37 at The Retreat in Kings Langley, Hertfordshire, some to wheelchair standard but all at affordable rents – and is building more.

The Retreat, Kings Langley

The Retreat, Kings Langley

How does it do all this? It receives annual grants from publishers and bibliophile charities, among them (thanks to T.S. and Valerie Eliot) Old Possum’s Practical Trust. But it also depends on the many smaller donations it receives. People organise fun runs, pub quizzes and all sorts of other events to raise money for the Charity, which also has guaranteed places in the London Marathon for anyone interested; and one person raised £4000 by doing a sponsored cycle ride. SfEP members gave £325 when renewing their subscriptions in 2017 and another £215 in 2018, and the SfEP Council decided to add to that the £287 proceeds of the 2018 conference raffle.

If you are anywhere near Kings Langley, you can benefit yourself while helping The Book Trade Charity. On certain Fridays and Saturdays throughout the year it runs book sales at The Retreat, where stock given by publishers is sold at very reasonable prices: fiction, non-fiction, children’s books, glossy tomes and more.

Please consider adding a donation to your subscription when you next renew your CIEP membership. After all, you never know when you might need the discreet, practical help of the Book Trade Charity. Visit www.btbs.org to find out more.

Gerard HillFor his third career, Gerard M-F Hill retrained in 1990 as an indexer and became an editorial freelance as much-better-text.com. He began mentoring for the then SfEP in 1999, joined the council in 2007 and was its first standards director; he stood down in 2016 to become chartership adviser. An advanced professional member of CIEP and SI, he lives on a hillside in breezy Cumberland.

 

Posted by Abi Saffrey, CIEP blog coordinator.

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

 

The SfEP became the Chartered Institute of Editing and Proofreading on 1 March 2020.

Originally published November 2018; updated June 2021.

Inside Bloomsbury Publishing for Editors and Proofreaders

In a brand new event series, Inside Bloomsbury, Bloomsbury Publishing is opening up about how it creates and publishes its books by inviting key members of the Bloomsbury team to talk about what they do in more detail than ever before. In this second event of the series, a follow-up to ‘Inside Bloomsbury Publishing for Illustrators’, a panel of Bloomsbury editors discussed the skills needed to edit works that please authors, agents and publishers – in partnership with the SfEP. Andrew Macdonald Powney tells us more about the event on 25 October.

Door to Bloomsbury Publishing's offices on Bedford Square, London

Bloomsbury Publishing, Bedford Square, London.

Bloomsbury publishes 2,500 titles annually, 80% of which are non-fiction. Every seat at the Bloomsbury Institute was booked on 25 October for a discussion between three Bloomsbury editors: managing editor Marigold Atkey, senior editor Xa Shaw Stewart and special interest editor Jonathan Eyers. It was chaired by Abi Saffrey, an Advanced Professional Member of the SfEP.

Jonathan summed up the stages of the in-house process: a structural edit by the commissioning editor, then a copy-edit focused on clarity, next typesetting, and only then proofreading – with checking e-books coming last and paying least well, since by that stage most errors have been found. Bloomsbury wanted quick, thorough, accurate proofreaders. The firm tends not to recruit through the SfEP directory, but rather, according to their own intelligence and contacts, and through the constant stream of CVs dropping into their inboxes; Jonathan Eyers gave examples of proofreaders without previous experience whom he had employed because something particular made them stand out. Editors might well take note of training like SfEP and PTC courses, however.

Working with Bloomsbury

So how can proofreaders attract work – and repeat work – from Bloomsbury? As to breaking through in the first place, Jonathan returned a couple of times to saying that a letter looking for work plus a generic CV stands next to no chance in competition against a distinctive application from someone with specialist expertise. Editors are on the look-out for people who may know more than they do on a topic that might cross their desks. These get added to the contact list.

Once employed, a freelancer’s flexibility is important, and for tried-and-tested freelancers this can work both ways. Reliability and turnaround are essential. Timings might be 2 to 3 weeks for proofreading or 4 weeks for copy-editing a text of 80,000 to 100,000 words. It will pay the freelancer more in the long run to stick to the agreed fee. Failing to keep to the deadline is another great way to mark yourself out as a risky pick. A third classic error is forgetting to back up the text you have been sent, which you need in case of file corruption or queries over changes. Freelancers can also lose credibility by altering text when they should raise queries; changes to the text that turn up only at the proofreading stage mean alterations to the typeset text, and that is expensive. Both budgets and schedules are tight and margins for error will stretch only so far (Marigold has worked on 38 books to date this year).

Marigold Atkey, Xa Shaw Stewart, Jonathan Eyers and Abi Saffrey at the Bloomsbury Institute

Marigold Atkey, Xa Shaw Stewart, Jonathan Eyers and Abi Saffrey. Photo: Ruth Burns Warrens.

The same but different

In-house editors within the same firm may have different approaches. Marigold might line up a proofreader at the same time as the copy-editor, and she might look for an indexer or even a freelance map illustrator as well. Her brief with the Raven imprint brings in fantasy, and a recent book required a floor plan to go with the text. Xa’s work with cookbooks might lead her to seek out ghost writers or project editors (though Bloomsbury seldom has need of freelance project editors/managers). Jonathan’s team looks to commission and publish non-fiction texts for identified niche markets, which is why it is subject expertise in a proofreader that especially attracts him.

Publishers have slimmed down, but that increases the overall proportion of freelance work. Whereas a few years ago it seemed that a few conglomerates might buy up all the independents, another possible future for publishing may now be coming into view: many, small independents without physical offices, producing books through networks of freelancers in a world where almost no one is in-house.

Practicalities

The trend is towards electronic mark-up for copy-edits: though the vast majority of Bloomsbury’s proofreading is still on hard copy. Thus, the BSI marks remain indispensable because they are internationally understood. Editing using Track Changes in Word is pretty much the rule and the system, though Xa felt that working from a paper copy as well might still be most effective. Her particular titles create a premium on freelancers’ awareness of visuals and design. The passage from book to e-book is now practically seamless, requiring comparatively minor changes like the position of the copyright page, and there is little freelance work in this area. Encouragingly, though, outsourcing the process to cheaper markets has its limits, since Bloomsbury requires quality in production and editing, especially sensitivity to nuance and idiom. In cookbooks, not just “broil / grill” or “zucchini / courgette” but the density of flour (and therefore the amounts in a recipe) may vary between the US and the UK.

This early evening on Bedford Square saw the Bloomsbury Institute introduce trends present and future clearly and enjoyably to a large, varied, and interested audience. In a show of hands, only five or six attendees are based in-house. Perhaps those few will take back the idea of this event to other publishing houses too.

Andrew Macdonald PowneyAndrew Macdonald Powney is an Entry-Level Member of the SfEP. He taught Politics and RS in state and independent schools after taking degrees in History and Patristic Theology, and he is now based in Edinburgh. Andrew is interested in political, religious, theological, and educational texts, and Plain English. His own writing appeared most recently in The Tablet.

 

Posted by Abi Saffrey, SfEP blog coordinator.

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