Category Archives: Professional development

How to guides to help with your professional development.

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.

Podcasts and editors: what the word nerd heard (part 2)

In the first part of this blog, I explained why I’m a fan of podcasts and how their focus on narrative and storytelling make them particularly appealing to writers and editors.

In this second part, I’ve identified a few shows that I think fellow editors may enjoy – and they’re not necessarily what you’d expect. It’s just a small selection from the two million plus podcast series that are available, so existing podcast fans will probably wonder why I’ve not mentioned their favourite show. Well, I probably don’t know about it – but I’m always looking for new ideas so do put a link in the comments to any podcasts you love.

1. Podcasts about working with words

I only listen to a handful of podcasts that deal explicitly with language. I spend enough of my day wrestling with words as it is. But these are all diverting enough for listening not to feel like work, and could even be regarded as CPD (continuing professional development).

The Editing Podcast: All about writing and editing

Our friends, CIEP directors Denise and Louise, may have given you your first taste of the wonderful world of podcasts. They already have six seasons of bridging the gap between writers and editors, showing that our profession is both approachable and knowledgeable. What better combination? Add to that the fact that their shows are short and they don’t take up all your phone memory, and it’s a must-listen.

By the Book: The power of books and friendship

Here’s another couple of literary ladies, these ones quite different to Louise and Denise. Kristen and Jolenta live by a different self-help book each week, with varying results. For editors, it’s fascinating to note what it is about this genre that appeals to readers. But it’s not so much about how useful the books are, as about how powerful relationships are. Even if you have little in common with their New York lifestyles, these two not only are great role models as friends, but also seem to have helpful and supportive husbands who don’t mind their personal lives being recorded for the entertainment of thousands of listeners.

Because Language (was Talk the Talk): Cutting-edge linguistics

Much of the engaging character of this show also stems from the relationship between the three presenters. They take a very modern and descriptivist approach to language use, which is interesting from an editorial point of view. One might argue that they can be a little too tolerant of certain uses while shutting down others, but that’s the balance that linguists must negotiate.

For another option, Lingthusiasm is probably the best-known linguistics podcast, due to one of its presenters being the author of the excellent book, Because Internet – and it is worth listening to – but I have to admit my mind tends to wander during their lingthusiastic discussions.

The Allusionist: Exploring language in society

Helen Zaltzman explores language in relation to everything from cookery books to the censorship of Brazilian newspapers to Dickensian theme parks. It packs a lot into 20 minutes or so, and sheds a lot of light on both American and British culture, including the latest thoughts on sensitive language. The transcripts are particularly comprehensive, with lots of supporting material and enough links to get lost in for the rest of the day.

Something Rhymes with Purple: Jolly japes with Gyles and Susie

Everybody loved Susie Dent’s interview at last year’s CIEP conference and her etymological podcast with National Treasure™ Gyles Brandreth is just as entertaining. Both presenters are incredibly erudite, but wear their learning lightly (unlike Gyles’s famous jumpers) as they spark off each other while discussing the words of the week. It’s also quite funny to hear these respectable celebrities discuss sex and swearing so openly.

For ideas for more podcasts about language and writing, check out the suggestions at Podchaser and Book Careers.

2. Podcasts about narrative and storytelling

You may have noted that, for me, the appeal of my favourite podcasts often comes from the interaction of the presenters, and how they construct their narrative.

It’s the same for these podcasts, which focus on broader themes – real experiences and the world around us.

The Moth: The art of (true) storytelling

This is the original performance-storytelling podcast – real-life anecdotes told live on stage without notes. From an editorial viewpoint, it’s about constructing a compelling narrative but, on a more emotive level, it’s about life experiences across different times and cultures. Some stories are funny, some are tragic, some are compelling, all are memorable.

Don’t miss a lovely story by Mr PerfectIt himself (I nearly crashed the car when I heard the name Daniel Heuman), the amazing experience of an astronaut struggling to swim, or my absolute favourite – a woman remembers how reluctantly collecting milk-bottle tops for charity became something much greater than she expected.

Also check out spin-offs like The Dublin Story Slam, which features mostly Irish storytellers recounting their experiences. Mortified is another variant on the theme, in which adults read out their own teenage diaries on stage, with comical and cringeworthy results.

Spooks and Bogles: Never let the truth get in the way of a good story

Actor, author and historian (and – disclaimer – my friend) David Kinnaird found himself short of an audience at the start of last year’s lockdown so, with typical energy and panache, he used his considerable knowledge and performance skills to write and perform a weekly podcast about Stirling’s history and ghost stories. If that sounds a little esoteric, well, that’s part of the charm, but David’s research and storytelling is exemplary. And in fact, after around 70 episodes, it’s broadened its focus to Scottish, and sometimes Irish and English, folklore – the starting points for fascinating explorations of history, politics and the nature of reality.

For context, start at the beginning with Dead Man Talking.

99% Invisible: Putting the visual world into words

This one’s a lesson in style for non-fiction editors – every episode succeeds in vividly explaining the influence of design and inventions on the world. Presented by the memorably named Roman Mars, each of these mini-documentaries about architecture or technology or town planning or ‘Who Let The Dogs Out’ by the Baha Men* will have you repeating random facts at everyone you meet.

They’ve covered almost literally everything – but several episodes are about books and here’s a recent episode, The Clinch, about the sexy covers of romance novels.

*If you’re interested in the origin stories of cheesy pop songs, an honourable mention goes to this uplifting episode of Every Little Thing, about the origins of that wedding-reception classic, ‘Cha Cha Slide’.

How I Built This: The stories behind the brands

Another memorably named presenter, Guy Raz, interviews entrepreneurs of brands you may or may not have heard of about their experiences of starting, running and sometimes leaving businesses. It sounds horribly dry and capitalist but it’s actually very engaging – another lesson in how storytelling works in factual contexts too. Guy’s politely probing interviewing style results in some candid revelations from CEOs. Look out for him making a point of asking both women and men how they balanced work with childcare, and also note the answers to his most famous question … was your success due to skill or luck?

As a daily Duolingo user, I like this episode about the surprising story of the world’s top language-learning app.

Beautiful Anonymous: A weekly tribute to empathy, openness and honesty

It’s a simple premise. New Jersey comedian Chris Gethard chats with an anonymous caller for an hour. They tell their life stories in their own words, so you get perspectives from those whose voices you may not normally have a chance to hear. Some callers have rather dull lives; others certainly do not – but it’s all about what it is to be human.

There are more than 270 episodes so far. Chris himself recommends his favourite early episodes in this article.

And finally …

My Dad Wrote a Porno: The best editing podcast of all

You’ve probably heard of this one – it’s one of the most popular British standalone podcasts and has picked up numerous celebrity fans. And it really is all about writing and editing! Jamie and his friends read out – and comment on – his dad’s explicit but amateurish porn novels. It’s both hilarious and, er, educational, in more ways than one. They’re quick to pick up on inconsistencies, factual errors (especially involving body parts) and structural issues – showing that readers do notice such things. The spin-off book was a marked-up manuscript – I’ve got a copy right here next to Hart’s Rules.

And you’ll never think of pomegranates in the same way again.

Enjoy listening and do tell me about your own favourite podcasts – the more obscure the better!

About Julia Sandford-Cooke

Julia Sandford-CookeJulia Sandford-Cooke of WordFire Communications has spent more than 20 years in publishing. When she’s not listening to podcasts, she writes and edits textbooks, speaks very bad Dutch and posts short, often grumpy, book reviews on her blog, Ju’s Reviews.

 

 

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: play/pause by Thomas Breher from Pixabay; Listen by Belinda Fewings 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.

Podcasts and editors: what the word nerd heard (part 1)

In this first of two blog posts, Julia Sandford-Cooke introduces us to podcasts and looks at how they can be a useful development tool for editors. She answers the following questions:

  • What is a podcast?
  • Do you have to pay for them?
  • Who listens to podcasts?
  • What can podcasts be about?
  • OK but how does this all tie in with editing?
  • Don’t know where to start?

I have to admit something that you might find shocking. Brace yourself …

I don’t listen to BBC Radio 4. No, not even The Archers.

In fact, I haven’t listened to live radio, or live TV for that matter, for years. But I somehow still manage to be well informed on topics that interest me. In fact, spend any time with me and one thing I’m likely to say (other than ‘How can the dishwasher be full already?’) is ‘I heard [insert fascinating fact] on a podcast’.

According to my aptly named Podcast Addict phone app, I’ve spent 91 days listening to podcasts since 2016. Last week alone, 10 hours and 36 minutes of my time were accompanied by podcasts. So I must have spent 10 hours and 36 minutes on my morning walk, cooking, tidying, cleaning and, yes, dealing with the dishwasher. It’s just like listening to the radio – any task that would otherwise require me to listen to my own thoughts can be carried out while listening to other people’s. It’s my own form of curated content.

What is a podcast?

Podcasts are a form of on-demand audio media. Many people, at least in the UK, seem to think they are simply radio shows you download from the BBC website. Well, some are, but you’re missing out if that’s the extent of your podcast experience. The majority are standalone audio recordings, usually part of a series, researched, recorded and produced specifically for listeners to access via their computer, tablet or phone. You can download episodes to listen to when you want, or you can stream them if you have a reliable WiFi connection.

Episodes can be any length, from five minutes to a couple of hours. Most of those I listen to are between 20 and 50 minutes long – again, like a radio show. But unlike radio shows, many have transcripts, along with images, on their websites, so people who are unable to hear or have difficulty taking in spoken information can still access the content.

One of the many wonderful things about podcasts is that it’s very easy to create your own. Three of my friends (separately) started shows during last year’s lockdown – everyone can have a voice, though whether they have an audience is another matter and that, as with books, is down to promotion and word of mouth.

Do you have to pay for them?

Podcasts are generally free to access. However, a downside is that many have to keep stopping for adverts from their ‘sponsors’, which is a bit tedious if you’re used to ad-free media. But you can always fast-forward through them, and it’s worth putting up with the ads if it means the shows remain free. Others are funded by fans donating to Patreon or similar crowd-funding platforms – I support my friend David’s historical storytelling in Spooks & Bogles, for example, and the entertaining and erudite Strong Songs has more than 1,250 subscribers willing to pay a monthly fee to hear about the songwriting techniques behind their favourite tracks.

Most podcast apps and platforms, such as Spotify, are free for the basic service. I chose to pay £2.99 several years ago to get the premium version of my app and I still think it was a great investment.

Who listens to podcasts?

Well, who watches TV or plays football? Anyone who wants to. Anyone who can. Recent statistics suggest that 55% of the American population has listened to a podcast, and about 18% of people in the UK listen to at least one podcast every week. They are particularly popular in South America.

Some research suggests podcast listeners are ‘loyal, affluent and educated’ – and not necessarily young. I know a man in his mid 70s who likes nothing better than to plug in his headphones to spend some introvert time with the latest episode of his favourite science show.

Far from being the latest newfangled fad, podcasts are really pretty mainstream. It’s estimated that 14.6 million people in the UK listen to podcasts (numbers have shot up since the pandemic started).

They have been around for quite a while by today’s technology standards. They first began to gain momentum in 2004, to the extent that ‘podcast’ was declared word of the year by the New Oxford American Dictionary in 2005. There’s even an International Podcast Day™ on 30 September. Interestingly, organisers used to describe it as an opportunity ‘to educate current and future consumers about podcasting and advance the podcasting discipline’ but now simply say it is ‘a celebration of the power of podcasts’. An example, perhaps, of the impact of their recent popularity?

What can podcasts be about?

Part of the mainstream appeal comes from the huge variety of subjects that two million different podcast series inevitably bring.

Statistics indicate that British listeners are most likely to download podcasts in the genres of sport, news/politics and comedy (mostly produced by the ubiquitous BBC). There are apparently 18 different daily news podcasts in the UK alone but, sport, news and politics not being topics on which I wish to spend my leisure time, I subscribe to only a couple of the current top 100 iTunes podcasts, which is surprisingly few considering I follow more than 50 podcasts overall.

Personally, I prefer documentary-style factual content or autobiographical shows. In the mood for onstage anecdotes? Play The Moth. Hungry? Play The Sporkful. Fancy a bit of contemporary socioeconomic theory (and who doesn’t)? Play Freakonomics.

Podcasts can be fiction too, and the format allows for original approaches to dramatic audio production. I enjoyed the thriller Carrier (soon to be filmed for Netflix) but that’s because its star Cynthia Erivo can do no wrong. But most scripted shows are ‘docudrama’ style, often based on the discoveries of a (fictional) investigative reporter, and I find these get tiresome pretty quickly. I’d rather read a novel.

OK but how does all this tie in with editing?

  • There’s the obvious thematic link. Many podcasts are about language, linguistics, writing, publishing or editing. Our very own Denise and Louise host The Editing Podcast, a must-listen for writers and editors alike.
  • Then there’s the structural link. My favourite shows are less obviously related to my profession but, in my opinion, are just as immersed in narrative and storytelling, as I’ll demonstrate in the second part of my blog.
  • Podcasts are collated, compiled and edited just like books. Producers choose what to keep and what to remove. Like books, they have tropes and formats that we come to expect, from an introductory clip to capture our attention to carefully selected background music. John August, in the first episode of Launch (a podcast about publishing his novel), does a fine job of identifying some of these. (He’s also very nice about copyeditors.)
  • Listening to podcasts improves my general knowledge. You can choose which podcast you listen to but you don’t necessarily know what they’ll be talking about so you never know when the history of barbed wire, the story of Wigan Casino or the fact that certain species of baby spider eat their mothers will come in handy. Many’s the time that I’ve run to Google to find out more about something I’ve just heard.
  • Listening also increases my awareness of other cultures and beliefs, and (because I listen to so many American shows), my awareness of how other cultures view my own. Admittedly, I roll my eyes at the frequent, outdated criticisms of British food (Gastropod, I’m looking at you) or mentions of generic ‘British accents’, but it’s nevertheless illuminating to appreciate that stereotyping works both ways.
  • I spend so much time with the written word that spoken language provides a useful balance, with its own layers of meaning and surprise. Surely I’m not the only person not to know that apparently ‘pho’ (the soup) should be pronounced ‘phar’? (Disclaimer: I can’t be sure that it is – I just heard it in a podcast.)

Don’t know where to start?

With so many podcasts to choose from, it can be hard to identify the ones you’ll enjoy most. What are you interested in? Websites like Podchaser group shows by genre – business, technology, comedy, audio drama and so on – or check the iTunes charts to see what’s popular in the UK at the moment.

If you have a hobby or special interest, from quilting to paddleboarding, there’s bound to be a podcast (or several) that covers it. Or perhaps you’d like to hear the stars of your favourite 2000s TV show (like The West Wing, The OC and Gilmore Girls) reminiscing. Ten years ago, backstage gossip might have been in book format but today it’s actors and the production team interacting.

Just browse until something catches your interest and then stream it online – via a website or on Spotify – or download it to an app, which I prefer because it’s portable.

Still looking for ideas? The second part of this blog will give you a few more starting points.

About Julia Sandford-Cooke

Julia Sandford-CookeJulia Sandford-Cooke of WordFire Communications has spent more than 20 years in publishing. When she’s not listening to podcasts, she writes and edits textbooks, speaks very bad Dutch and posts short, often grumpy, book reviews on her blog, Ju’s Reviews.

 

 

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: Listen by Nick Fewings; podcasting set up by Will Francis, both on Unsplash.

What editors need to know when asking authors questions

The Art of Querying, a new CIEP course, is on its way. Its creator, Gerard M-F Hill, gives
us a speedy tour through questions and queries, and what the course offers editors
and proofreaders.

Is the current King of France bald?

Questions are of many kinds, and not all of them are good questions – or even answerable.

Whatever you edit – advert, magazine, novel or research paper – you soon start asking yourself questions. What does this mean? Where did those come from? How am I supposed to know that? Is that all? Or even just: why? Of course queries should be clear and concise, but it’s good to be constructive too. What makes a good query?

Before you fire off a query, ask yourself what the problem is. You need to have a reason for asking, because the author may not think it is a problem at all. You first identify the problem by analysing what is bothering you. As a result, you will craft a better question and often you will identify an answer (or answers); then the author just needs to say yes (or no, not exactly … more like this).

Might I suggest?

As queries take up the author’s time (as well as yours), it is only common courtesy to keep them as few and as short as possible. So you need criteria to decide when to ask a question, and you also need a range of suitable formulas that you can adapt for each situation. Good questions will help to ensure that you get a usable answer.

Queries can be short, but they don’t have to be abrupt. It pays to be diplomatic. There are good ways to approach an author, to frame a question and to follow up an incomplete answer – and there are some even better ways.

Does it match the brief/blurb?

Who is this publication for? What will readers want to know? What will they expect to find? What are they expected to know already? Will they know all these facts, names, words, idioms, allusions or connections? Will they resent the presentation as either patronising or trivialising?

As an editor, you ask yourself such questions because they are a big part of the expertise that you offer and that your client is paying for. A publisher does not wish to hear of such defects from unimpressed reviewers or disenchanted readers.

Does it make sense?

What is the writer trying to say? Are they getting their message across? Does it make sense? Why is this different from that? You ask yourself such questions on behalf of the reader, who should not be left to wonder and has no way of asking the author to explain.

If it doesn’t make sense, if the plot or proposition doesn’t add up, if defective grammar is stuffed with malapropisms or other unsuitable words, the reader will soon drift off and never return. The editor aims to prevent any such crisis by smoothing the reader’s path so they can be informed, educated or entertained without being tripped up, distracted or misled.

Are you happy with this?

Where possible, make it easy for the author by presenting your query as a simple choice: A or B? This, that or the other? Would this [rewritten sentence] represent what you are saying?

Have forgotten something?

It’s easy to see that ‘you’ is missing in that sentence. It’s not so easy to spot when a whole topic or aspect of a piece, or the dénouement of a subplot, has been overlooked. The questioning editor keeps a lookout for content that the reader may be expecting, but which is not there.

Easy questions

Why is water wet? This penetrating question from a thoughtful child nonetheless demonstrates that ‘the greatest fool may ask more than the wisest man can answer’, though children are not fools. The saying is often attributed to King James I and VI.

In checking the reference (as all good authors should) I found to my surprise that the aphorism did not come from the wisest fool in Christendom, but from Charles Caleb Colton’s Lacon, published in 1820. In non-fiction, references – inadequate, unconvincing, mangled or missing – usually generate half your queries.

Here’s the answer!

Between 2010 and 2019 I regularly ran a session at the SfEP conference on The Art of Querying, and since then I have been expanding this workshop into an online course. It begins with the whole question of questions. For a start, what do you need to ask yourself? Can your author query be answered at all? Is there only one way to answer it? Could it be misinterpreted? Does the text assume the answer to an unspoken question?

The course next looks at questions to ask the project manager, with a checklist, and how and when to approach the author, with examples of how to do it and what not to do. This section discusses practicalities, from typefaces to time zones, alongside the principles and professional ethics that underlie all editorial queries. It Looks Funny examines your five options before you ask anything, followed by advice on formulating queries and notes, with six rules to help you.

Readers struggle with four major problems – inconsistency, ambiguity, omission and error – and each of these topics has a whole section of the course to itself. Different types of content have their own pitfalls, so there are sections devoted to prelims, narrative and argument, vocabulary and terminology, references, tables and artwork.

The Art of Querying is meant to be instructive, stimulating and enjoyable while extending your editing knowledge and skills, with lots of questions (and answers), well over a hundred real-life examples, copious but concise study notes and a variety of exercises to let you think through different solutions, along with a decision tool to determine whether and what to query, six rules you can follow and a dozen checklists for you to download and use. The Art of Querying is also (I hope) a good read and good fun!

Find out more about The Art of Querying

About Gerard M-F Hill

After several years teaching and 16 years driving heavy lorries, Gerard retrained as an indexer and copyeditor. Since 1990 he has worked on over 500 books and mentored over 100 proofreaders.

As a director of SfEP (2007–16) he devised the basic editorial test used by CIEP and as chartership adviser (2016–20) he worked with the chair, Sabine Citron, to obtain the institute’s Royal Charter.

 

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: question mark by Emily Morter; Answers 1km by Hadija Saidi, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

The CIEP Curriculum for Professional Development

The CIEP’s training director, Jane Moody, has been working closely with directors, tutors and the wider membership to create a curriculum for professional development. In this post, Jane explains:

  • why we need a curriculum
  • what that curriculum covers
  • how the curriculum works.

Do we need a curriculum?

Yes, we do! Most professional organisations have a set of skills and knowledge that you need to understand or at least know something about to call yourself a professional in their area. Some test their members on this set of skills (physiotherapists and accountants, for example) before they can call themselves members of their professional body. All expect their members to refresh their skills and learning against this skill set periodically. Continuing professional development, CPD, is expected of all members, no matter their status in the organisation, and this is true of copyeditors and proofreaders as well.

We, as editors and proofreaders, now also have a framework of study – the CIEP Curriculum for Professional Development.

What does it cover?

At first glance, you might think that you won’t need to know about everything in the curriculum. Have a closer look, though. Any publishing professional needs a basic grounding in publishing ethics and law – even if you only scratch the surface, you should at least know something about the moral rights of authors, plagiarism and copyright. If you work as a freelance editor/proofreader, you are running your own business, so you need to know something about keeping records, what HMRC needs to know about you, and how to work efficiently. You will have your own equipment, so a basic knowledge of how to manage your files and keep them secure is essential for your own and your clients’ peace of mind. That takes you to the end of Domain 1 of the curriculum: Working as a professional.

You may be working in-house in a company and, if so, there will be some aspects of business management and practice that may not be immediately relevant to you. The knowledge in this area will, however, be useful to most members working in our profession today.

Even if you never work for a ‘traditional’ publisher with an editorial department, a production department and a marketing department, you will need to understand the basics of a publishing workflow. There are good reasons why some tasks are done before or after others. The more you understand about the industry and its processes, the wider your client base can be and the more useful you can be to your clients.

Working with words means that you need a good knowledge of the English language and its mechanics, and how different people, groups and organisations use the language. You need to be able to judge whether something makes sense, is clear and appropriate for the audience, and to be able to raise queries with an author or client in a concise and sensitive manner.

How you work is critical to getting repeat business – do a good job and you may pick up a regular client; do what you think you need to without learning about how and why and you are not likely to be asked for a second date. The nuts and bolts of copyediting and proofreading processes have been refined over many decades and, no matter who you work for, understanding what you are doing, who for and why matters if you want to do the best job you can. And now you are at the end of Domain 2.

Not all editors/proofreaders will use all the skills and knowledge included in these two domains of the curriculum in their day-to-day work. Nevertheless, as you grow in skills and experience, you are likely to want to broaden your awareness of publishing processes and the breadth of publishing outside your initial comfort zone. Developing your knowledge and acquiring a broad range of skills are essential CPD.

Some people prefer to remain as ‘generalists’, working for many different clients in several genres and subject areas. If this is true for you, you may never need to consult Domain 3. Others like to specialise, some in traditional areas where there is a body of specialist publishing, such as medicine, music, fiction or the law. Each of these specialist areas has its own conventions, specialist knowledge and terminology. Domain 3 covers a few of these specialisms and others will be added – if there is a specialism that you think should be included, copy the template at the start of Domain 3 (page 28), fill it in and send it to the training director.

How it works

Each domain of the curriculum is set out in columns. The first column divides the domain into detailed topics. The second column shows the competencies, professional skills and attitudes expected of a professional copyeditor/proofreader for this topic, and the third lists some resources to support learning in this area. Eventually, there will be a fourth column, which will list the ways in which a copyeditor/proofreader can demonstrate their competency in this area – a test pass or other kind of assessment, perhaps. This is an aspiration for the future.

We hope that you will contribute to keeping the curriculum alive. Have you taken a course that helped to expand your knowledge and skills? Have you come across a book or other resource that is really useful to you in your practice? Do tell the training director about it.

Download the curriculum now

About Jane Moody

Jane has worked with books for all her working life (which is rather more years than she cares to admit), having started life as a librarian. She started a freelance editing business while at home with her two children, which she maintained for 15 years before going back into full-time employment as head of publishing for a medical Royal College.

Now retired, she has resurrected her editorial business, but has less time for work these days as she spends much time with her four grandchildren and in her garden.

 

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: book stacks by by Lysander Yuen on Unsplash; cogs by Gerd Altmann on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

Forum matters: The treasure in the CIEP forums and how to find it

There is precious metal in them thar forum messages, and sometimes you have to dig for it. So, before we highlight some of the gems, we’ll tell you how to use the unearthing tools. We cover:

  • How to mine the forums
  • Threads of pure gold
  • Daily updates
  • Occasional pupdates
  • Invaluable advice for fiction editors

How to mine the forums

First, fill a mug with your beverage of choice and relax in front of your screen. Select a forum to peruse, say SfEPLine, and click. You’ll see about 30 rows of alternating grey and white that highlight the separate posts. Top right above the rows is the forum page you are on (SfEPLine has 275 pages; Off topic has 89). You can click forwards and backwards to your heart’s content.

If there is a blue box on the left that says ‘New’, then it is a thread you haven’t read or posts have been added since you last opened it. If you click on the blue box you’ll be taken to the latest message you haven’t read while in the forums (although if you’ve been following a thread and receiving the emails, you will have).

Each row tells you the subject and the name of the original poster, and the date, time and name of the last person to add to the thread. Useful if you know that a particular person is always worth a read.

In the middle are two columns for Views and Posts. The former tells you how many folk have been attracted enough by the subject line to have a gander. The latter tells you how many have been sufficiently moved by the content to contribute a post. Once either of those numbers goes above a single digit you can bet it will be interesting; if it’s gone to three or more digits, then it is probably forum gold.

If you don’t feel like a thorough trawl to find subjects that pique your curiosity, then here are a few threads we think are fun.

Threads of pure gold

On 24 August 2017, Margaret Hunter thought it was time for ‘an invitation to get you [Lurkers] started with a (hopefully) non-threatening post’ to ‘Tell us how you first heard of the SfEP’. By 29 September the thread had attracted 66 posts and, to date, has had 1,170 views. The posts illustrate the diversity of our membership and the myriad routes there are to becoming an editing professional. ‘Lurkers – yes you – look in here.’

Also in August 2017, Sophie Playle had an invaluable idea: ‘Most newbies have a lot of the same questions, so I thought I’d collate some of the fantastic advice more established SfEP members have offered over the years. Here’s what I’ve come up with! I’m sure there’s much more to say on each topic, but hopefully this provides a good place to start.’ She then extracted some key posts on such topics as: how to find work; some good courses; and what to charge. The advice may be nearly four years old, but it is still sound – and useful – as confirmed by a thank you posted in February 2021. ‘Newbie FAQs and Collated Wisdom from SfEP Members’ has been made easy to find by being ‘stuck’ at the top of the Newbies forum, which explains its 3,896 views.

Daily updates

Two threads effortlessly gather new posts to stay on the first page of Off topic. The first is ‘Typo of the day’, a fount of hilarious examples of why our profession is justified, with 1,637 posts, umpteen attached files and nearly 18,000 views over the seven years since Michelle Bullock kicked it off with, ‘I thought it best to give him a wide birth’.

The second is ‘Wildlife distraction of the day’, which is a relative youngster, but a lovely breath of fresh air. Frances Cooper kicked it off in June 2020 with mention of a sparrowhawk, which attracted 206 posts and many pics for the over 2,000 readers.

Occasional pupdates

Pet lovers may want some time with gorgeous photos and general pet covetousness, in which case have a drool over ‘New puppy (for Wendy!)’. There are plenty of pics (dogs, cats, hedgehog and gecko) although only 31 posts, so perhaps it deserves more than its 192 views.

Invaluable advice for fiction editors

The specialist Fiction forum is a mineshaft full of nuggets for editors interested in the field. Perhaps one of the original 2016 posters on ‘How long does it take to edit a novel?’ might be surprised by their development, or otherwise, in terms of time versus income. Especially if they took the advice to start a spreadsheet.

Over to you to have a dig. If you find an old thread you think is still relevant and deserves reviving, then adding a post will bring it to the surface. We’ll all be enriched by the reminder.

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: Gold by Lucas Benjamin; pups by Bharathi Kannan, both 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 my business is established?

Many editors and proofreaders volunteer time and skills at the beginning of their careers to gain valuable experience that might lead to paid work. But once you’re established in your business, with a regular client base, what are the benefits of volunteering? We talked to some CIEP members to find out how volunteering works in a more settled career landscape. In a previous blog, we looked at volunteering when you’re just starting out, and covered the questions you need to ask yourself before giving away your valuable time.

In this article, we’ll cover:

  • Value-led volunteering
  • Making yourself useful
  • Helping colleagues out
  • Supporting the wider editorial community
  • Reaching across the earth
  • Giving back

Value-led volunteering

All volunteering is value-led to an extent, but for some of our members their values are the deciding factor in working out what volunteering work to take on.

CIEP Professional Member Ben Dare says: ‘I have offered voluntary proofreading to a number of organisations that I knew were either volunteer-led or had very restricted budgets. I thought that all of them were interesting or aligned with my values.’

In the end, some of this value-led voluntary work turned into value-led paid work:

  • One turned into a counter-offer of a few hours a week of paid work.
  • One connected Ben with a publisher’s editorial assistant, also volunteering, who connected him with their publisher. That turned into a number of proofreads, Ben’s first copyedits, and an ongoing relationship with the publisher.
  • One organisation incorporated Ben’s work into their funding applications so that they could start paying him for his work on their projects.
  • One remained a voluntary role, but it was fun and meaningful.
  • One remained voluntary with a paid project in the middle and the possibility of more in future.

Ben continues: ‘I also offered to do an unpaid proofread for a few charities when Covid was at its peak, knowing that finances were so uncertain, but also not expecting it to remain voluntary for future projects.’

  • One insisted they pay and sent a few projects Ben’s way.
  • One took a voluntary proofread and continues to follow up with paid projects, and referred Ben to another client.
  • One took a voluntary proofread and continues to follow up with paid projects.

Even with this impressive return, and a client base that increasingly reflects his values, Ben consistently offers a certain proportion of his hours for free. From his records, he has noticed that his percentage of voluntary hours has remained at around 10%. He says:

While I’d obviously have been better off had all those voluntary hours been paid, it’s not a big portion on paper. The important thing is that I only offered voluntary proofreading where I thought there was a need, and when I knew I would be satisfied doing the work, paid or not.

Making yourself useful

Some people volunteer long term for one organisation when there is absolutely no chance of ever being paid for it. Editing church or other faith-based magazines is a good example of this. CIEP Intermediate Member Annie Deakins has been volunteering for her monthly parish magazine since 2017. Her account of how this has benefited her, giving her skills that have helped her wider career, echoes the experiences of some of our newer members:

2017: I offered to proofread the monthly parish magazine for the local church. I was an Entry-Level member. I learnt how to use the PDF tools.

2018: The magazine editor retired, so she trained me to take over. I learnt about having a style sheet.

2019: A new church administrator was appointed. Her job role was tightened, so I took over invoicing the advertisers. I placed my own advert for proofreading services. I learnt about communication, diplomacy and tact. Very handy when querying.

2020: The vicar got promoted. She had done all the church social media. She taught me how to do it. I learnt how to market my own business.

There’s no denying that volunteering will push you towards skills and knowhow that you might not feel comfortable trialling in a paid role. However, for Annie, it’s also about offering a talent that’s genuinely useful to others:

I still volunteer with the Publicity Group at church because that is where my talents lie. I’m not happy doing catering, DIY or Finance. Therefore I do the church social media (Facebook, Twitter, Instagram) and edit the church magazine.

During lockdown, when we weren’t sending the magazine to print, I still produced an online PDF version, accessible from the church website. Usually the magazine is printed in black and white with a colour cover. During lockdown, when it was online only, the illustrations on each page could be in colour, which made each issue cheerier and raised spirits. Even if they didn’t have the hard copy in their hands, I still felt that my volunteering was valued.

Helping colleagues out

Kath Kirk (Gecko Edit) and Christina Petrides (Last Glance), both Intermediate Members of the CIEP, trade their skills by editing each other’s blogs before publication. Working in different sectors – Kath edits fiction and educational materials while Christina focuses on academic and business editing – there’s rarely overlap in their blog material. Their informal barter arrangement benefits them both, and pushes them to dig into aspects of editing that they might not encounter in their usual work.

Sue Littleford, our columnist on business matters, explains how this arrangement works tax-wise:

If you swap proofreading services with a friend for your blogs or your websites, you need to enter the cash value of the services received and rendered in your accounts, too. If they balance, it’s ‘free’ in monetary terms (other than your time), as the tax liability will exactly offset the tax relief. But if you spend one hour on your friend’s blog and your friend spends two on yours, there’d be greater tax relief than the tax liability (and vice versa), which is why it has to go through your accounts.

Supporting the wider editorial community

As a non-profit organisation, the CIEP relies on voluntary help. Its directors give a certain number of hours voluntarily every month, for example. Our social media team (SMT) is made up of volunteers, too. Obviously we have to keep the names of these ninja-like communicators secret, but one comments:

I’ve learnt about tone of voice, and tweeting for the CIEP has sharpened my copywriting skills. Being a member of the team has thrown me together with CIEP members with similar interests, eg in content marketing and user design. I feel I better understand engagement, and I’ve learnt how to write for the different social media platforms. All really useful for my business. And when I was starting out, I learnt about loads of interesting organisations in the publishing world by seeing who the CIEP follows on Twitter etc.

Another says: ‘I think it’s contributed to my appreciation of the wider industry. This can be a solitary old existence, so the team itself is a benefit. In terms of specific skills: awareness of use of appropriate language (gender-neutral pronouns!) and improved skills with web platforms, Slack, SmarterQueue, which is all very useful.’

Louise Harnby, the CIEP’s social media director (at the time of writing), testifies to the value of her team:

I work with an exceptional team of volunteers who deliver every piece of content that engages with the wider publishing and editing community. That frees up my time to focus on strategy and scheduling content that promotes membership growth, training, blog content, and our Directory of Editorial Services.

A team approach ensures the CIEP’s social media strategy is framed in a way that reaches beyond the bubble of a single director. Instead, there’s a support group in which we can share ideas about how best to put the strategy into practice – whether that be the design of our branded templates or the timing of our posts. Plus, there’s more than one set of eyes on our social media feeds and the questions our followers are asking. That’s more enjoyable and more effective.

Being a member of the SMT requires being able to write pithy messages that are engaging but hold our brand tone of voice, understand the principles behind content and social media marketing, and evaluate a post’s relevance and its alignment with CIEP values. For that reason, our volunteer editors and proofreaders tend to have some experience when they come on board.

Over the past few years the size of the SMT has decreased. But what’s stayed the same is the value and expertise our volunteers bring to the table. I love working with them and learning from them. And I’m very thankful for them! Delivering our social media strategy would be impossible without them.

Reaching across the earth

CIEP Professional Member Sarah Dronfield has become known among editors worldwide for running weekly blog round-ups on the Editors’ Association of Earth Facebook Page. She became a member of the editing community on Facebook soon after starting her editing and proofreading business in 2016, and explains how she spotted a need:

Lots of editors were saying that they read blog posts or listened to podcasts as part of their continuing professional development. I knew it was possible to follow individual blogs, but I thought it would be handy for us to have all the latest posts in one place to dip in and out of during coffee breaks, so in 2017 I started a weekly blog round-up in the Editors’ Association of Earth (EAE) Facebook group.

Later that year I took over the running of the weekly accountability thread in another of the EAE groups. That thread is a place for editors to share what they’ve done that week to market their business or advance their professional development. Many editors form their own private accountability groups with others who are at a similar stage in their career or who work in the same field, and the thread is useful for those who are not part of such a group. Having said that, I know lots of editors (myself included) who are in a private accountability group but still like to participate in the weekly EAE thread!

Posting these weekly threads makes me feel like I’m giving something back to the community that helped me so much when I was starting out. It also gives me a routine and a sense of normality that is essential these days.

Giving back

So, why do they do it? At this point in these professionals’ careers, their motivation isn’t so much future employment but adding something to their working lives. Volunteering can lead to work, but often it’s something that runs regularly alongside work, taking up a fairly predictable amount of time. It’s a way of getting CPD and forming new contacts as well as gaining satisfaction from helping in a way that’s consistent with their values. They’re giving something back, which may in time encourage others to do the same.

Do you volunteer? What do you do, and why? Let us know in the comments below!

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.

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Photo credits: tree by Brandon Green; Why Not? by Ian Dziuk; sprout by Sushobhan Badhai, all on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

The perfect partnership: the value of editing to an author

Working with an editor can be unlike any previous working relationship for a writer. In this article, Anna Cale explains how she has benefited from having her writing edited for magazines and a book.

As a freelance arts and culture writer, I think I am generally pretty good with words. But I also have to be professional. I always hit my word count, I submit my work to the agreed deadline and, importantly, I am open to feedback. Most of the time, anyway.

I am often too close to my work. I need someone else’s eye for detail, for spotting whether I have gone off track a little. I need a good editor. This is not something that comes easily, but I have always tried to remain open-minded and not too defensive. However, in my experience of writing articles, and then recently my first book, the role of an editor in the process has differed significantly.

Knowing your audience

When writing short-form articles for magazines, my interaction with an editor is quite limited. I pitch an idea in an email to the person who has the power (and budget) to commission. This is usually a hook that sums up the idea, with a short paragraph providing a little bit more detail of how the article would explore the idea. If the editor says yes, then we talk terms. Once the agreed article is written, it is sent to the editor for review, and you work together to form the final piece for publication.

You need to know the publication well before pitching an idea, identifying their style and what they usually commission, to have a chance of having your article idea accepted. It is a fast-paced and competitive environment, and there is some advantage to doing your research. This also really helps when it comes to the editing process, and hopefully shortens it considerably.

Sometimes you build a good working relationship with a particular commissioning editor, and that helps to make the process easier. You can start to second-guess what they want. But turnaround can often be quick, even for monthly magazines, and you don’t actually have much opportunity to build a connection. Both sides want the process to be as quick as possible.

Becoming a book author

When it came to writing my first book, however, the entire editing process was significantly different. My copyeditor was assigned to me by the publishers once I had submitted my final manuscript. I suspect this varies as each publishing company will work differently, but in my case that meant I had no interaction with an editor until that final stage, over a year after signing my contract to write 70,000 words.

I had done my research before putting together my original proposal for the publisher. Not just on the subject matter, but on the style of book the publishers usually release. I knew I would have to tailor my style a little to their audience, without compromising my own identity as a writer.

I was always going to be very protective of my book. It had been my baby for a long time. Friends had looked at drafts at various points, and my poor husband had read the entire thing twice. There was frustration along the way, as I realised just how much I use certain phrases (I’m looking at you, ‘of course’) or made the decision to alter sections significantly. I knew it was in a decent state at the point of submission, but I still didn’t feel prepared for editing and what that would entail. It was a complete mystery to me.

I was therefore rather apprehensive about the work involved in the editing process, but my editor guided me through it. Receiving a warm and friendly introductory email from her really helped, as she told me what the next steps would be. It felt like a fog had finally lifted. She was in control of the coordination of the various iterations of editing the manuscript, and I had confidence in her approach from the start. For me, as a debut writer, this feeling of trust was invaluable.

Working together

My experience of the editing process was a positive one. It felt like a constructive working relationship built on respect, with a balance of acceptance and compromise to reach a shared goal. We both had the same thing in mind – for me to produce the best book I possibly could.

It was about respecting each other’s knowledge. I was the subject matter expert on the topic, but my editor was the expert on how to present that idea for publication. Any spelling, punctuation, formatting or grammar changes she made were a given for me. I knew my editor would be bang on with that stuff, and I accepted those changes largely unchallenged. Anything more substantial was raised with questions or suggestions. I didn’t always accept those ideas, but did explore them within the context they were given to me.

It was a long process. We navigated the journey from rather long Word document to typeset PDF, with considered discussions over how best to present the appendices, the bibliography and filmography. The index was a pain, and I realised along the way that my grasp of the alphabet was not as hot as I had previously thought.

Respectful cooperation

For me, the main thing was consistent, open dialogue and communication. My editor clearly set out the process for me from the start, but I also felt empowered to approach her with questions or concerns. I finally had someone who was there to help me navigate this strange experience of writing a book when, during the previous months of researching and writing, that link had been sadly missing.

We had a shared willingness to understand each other. I did sometimes push back – our positive and understanding relationship gave me the confidence to do that. I did not feel uncomfortable or threatened by her input. I felt comfortable asking questions when I didn’t understand a comment, and equally, my editor seemed happy asking questions when she wasn’t sure about the subject matter or significance of something. We had respect for each other, the end result was something beautiful, and I feel we created it in partnership.

About Anna Cale

Anna Cale is an arts and culture writer who specialises in classic film and television. She has written for a number of publications and websites, including Little White Lies, Film Stories and the British Film Institute, and has also appeared on Radio 4.

Her writing subjects are wide-ranging, but she has an interest in British cinema of the 1940s, 1950s and 1960s, and in particular, showcasing the role of strong female voices in film culture. Her first book, The Real Diana Dors, will be published on 30 July 2021 with White Owl, a Pen and Sword imprint.

 

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: writer’s desk by Nick Morrison; Together by Nick Fewings on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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