Category Archives: Local groups

News and updates from the SfEP’s network of local groups.

Supporting sentences and each other

The other day, I was discussing the concept of bullet points with my six-year-old daughter.

‘Part of my job involves checking the punctuation of bullet lists,’ I told her.

She looked at me pityingly. ‘Sad job,’ she said.

She had a point of course. But, on the other hand, a commitment to consistency and clarity can in fact make for a very happy job, especially when you find others who feel the same way. And they’re certainly out there, especially online. Follow any thread on The Editors’ Association of Earth Facebook group, for example, and you’ll find eloquent international specialists eager to share their knowledge, united by their passion for the English language.

Lunching with like-mBlog post pubinded locals

Here’s another scenario. A group of professionals listens as a potential client describes her requirements for contractors. She explains the type of work she offers, the skills she’s looking for and the rates of pay on offer. Does her audience size each other up, ready to betray their competitors’ weaknesses, Apprentice-style, with a clever put-down or underhanded action?

Of course not. This is a group of editors and proofreaders, and, perhaps because we’re used to working alone, we find our strength in numbers.

The professionals in question were the Norfolk SfEP (now CIEP) group on a tour of a local typesetter. In the pub afterwards (what better excuse for a rare business lunch?), veterans of the battle for clear prose offered advice to nervous newbies, and we all openly discussed what we thought of the rates on offer. They were on the low side – acceptable to those looking for a route into editorial work but less attractive to those with a larger network of contacts. There was no sense of rivalry; some of us were simply keener to work for the typesetter than others. Talk moved on to more typical pub chat – weddings, construction and the City of London Corporation.

I don’t get to local meetings as often as I’d like but, when I do, I’m always welcomed warmly and come home brimming with inspiration and motivation. The Norfolk group (or chapter, as I like to call it) is one of the local CIEP groups throughout the United Kingdom that give editors and proofreaders a welcome opportunity to discuss sentence structure, spelling and standing desks with others who care about such things. CIEP members further afield can join the Cloud Club – there’s no reason to feel isolated even if you normally work by yourself.

The perils of going it alone

Here’s a third example, which I hope isn’t typical. I was telling a designer at a networking event about my strong editorial community – the friendly conferences, the funny Twitter chats, the engaging Facebook posts. He stared at me in amazement. ‘I don’t speak to other designers,’ he said. ‘They’d only steal my clients.’

‘So you always work in isolation?’

‘Yes,’ he said, ‘It’s the price you have to pay for being a freelance designer.’

Sad job, I thought.

TSO group and

Julia Sandford-Cooke of WordFire Communications (www.wordfire.co.uk) has more than 15 years’ experience of publishing and marketing. When she’s not hanging out with other editors (virtually or otherwise), she authors and edits textbooks, writes digital copy, proofreads anything that’s put in front of her, spends too much time on Twitter (@JuliaWordFire) and posts short book reviews on her blog, Ju’s Reviews.

Proofread by Susan Walton.

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

Reading more than once

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

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

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

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

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

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

 

Elevator pitches for editors

Spring daffodils starting to bloom.

Time for a bit of spring cleaning – tidy that desk and dust down your elevator pitch.

It’s that time of the year – at least in the UK – when the spring flowers are out, the birds are singing, there’s a fleeting glimmer of sunshine … and it’s the end of a tax year (or the start of a new one, depending on how you choose to look at it). Perhaps it’s time to tidy the desk, chuck out a few reams of paper and dust down the elevator pitch.

There’s much to recommend being able to tell people what you do in a way they can understand. Let’s face it – it can be an uphill struggle when it comes to justifying our existence. No, we don’t just check for spelling mistakes. And no, Word’s spellcheck function is definitely no substitute for the real thing. Yes, we might love words, but passion doesn’t pay the bills. Sure, an edit is not usually a life-or-death situation, although ‘mere’ typos can do serious damage to reputations and lives – and the work medical editors do, for example, carries a particular weight of responsibility. Good communication in any sector is vital, so there is genuine importance attached to our job, and it takes skill and experience to do it well.

What is an elevator pitch?

An elevator pitch is typically a short and simple summary of your business offering, using language that anyone can understand. It says who you are, what you do and what you can offer a potential client. A good example will tell a story in miniature, rather than comprise a blurted-out list of bullet points. You need to captivate your listener – and you haven’t got long to do it; perhaps 30 seconds. (The tallest lift in my town only goes up one floor, so I’d have to be especially concise.)

If you’re trying to communicate your worth to so-called non-publishers, you might need to strip things right back to the basics; you could even use an analogy. About a year ago I wrote a description on my website likening the work of an editor to the craft of a sash window renovator. (It only occurred to me afterwards that I should have struck some kind of reciprocal deal with the window restorers, asking them to compare their work to that of a professional editor.) The point is, it can help to explain what we do if we make it more tangible.

Publishers may be easier – they already understand the difference between copy-editing and proofreading, for instance, and they know why they need us. But all publishers are different, and you may still need a very focused approach to make that particular publisher understand why they should hire you, and not the other twenty editors who have also cold-called them that month. What areas do you specialise in? What specific skills and qualifications do you have?

How to write your elevator pitch

To write your elevator pitch, try putting everything down on paper (or screen) first – everything that differentiates you and your business. Stick to the positives – describe what you can do, not what you can’t. Then, when you have your description, do what you do best – edit it. Cut out all the extraneous material until you’re left with the pure message that you want to convey. Take your time. Tell that story. Nail it.

What to do with your elevator pitch

Now you have your perfect pitch, what can you do with it? One thing you could do is learn it by heart, and then take yourself off to some local networking events (or even an CIEP local group meeting) and actually use it. You might discover that you enjoy the process, and you could even pick up a new client or two. (Remember, contacts you make may not lead to immediate work; it’s often about the long game.)

However, the real beauty of this is that you don’t have to actually deliver the elevator pitch for it to be of real benefit. You’ve just spent quality time focusing on the positives of who you are and what you do. See how you’ve distilled the essence of your business so you understand exactly what you offer and why it’s worth something to others? Now you can use this knowledge of what makes your business brilliant (what I like to think of as your secret elevator pitch) to inform the way you sell it to others, in whatever way you choose.

Do you have an elevator pitch? Has it helped you market your business?

Liz Jones, a light-skinned person with shoulder-length strawberry blonde hair.

 

At the time of writing, Liz Jones was the SfEP’s marketing and PR director.

 

Proofread by CIEP provisional intermediate member Gary Blogg.

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