Category Archives: Social media

CIEP social media round-up: August and September 2020

In August we celebrated freelancing month by teaming up with BookMachine for combined social media posts, tips, interviews and resources about life as a freelancer, including useful blogs by CIEP member Julia Sandford-Cooke, ‘Six ways to be the freelance editor you want to be’, and Sam Kelly, ‘Getting started as a freelance proofreader’. BookMachine offered a CIEP discount on their membership fee and we offered free CIEP membership through the BookMachine website. Welcome to all the new members who joined us during this time!

Across all our social media platforms, we shared our collection of free fact sheets and focus papers, including Professor Lynne Murphy’s recent focus paper on Global English. On Facebook, we experimented with a chatbot engagement tool that delivered the paper directly via Messenger. If you’re a devotee of our other platforms, don’t worry – we’ll be trying new things on Twitter and LinkedIn soon! We reminded our new and not-so-new members about the content they could access as part of their membership, such as fact sheets about academic editing, editing efficiency in Word and getting your first clients, plus a handy editing jobs log. In August and September, too, we gave everyone the opportunity to take (or retake) our just-for-fun, often topical, CIEP quizzes 12, 3 and 4.

For those who became interested in the origins of the word ‘freelance’ in August, with all the talk of it, a handy history, supplied by Ye Olde Merriam-Webster, came a-riding to our rescue.

Text old, new and newer

Talking of history, there is always a proportion of our curated content that looks to texts past, from Thomas Cromwell’s cut-and-paste job, which added his image to the Bible of Henry VIII, to Agatha Christie’s best first lines, and from the world’s first novel to the debate about whether the work of female writers from the past, written under male pseudonyms, should now bear their real names (we posted articles that argued both for and against this idea).

Meanwhile, history was being made with the anticipation of, then the reporting on, the best first week of September for booksellers since records began. A delay to the publication of some titles due to lockdown, plus pre-Christmas releases, meant that on 3 September, ‘Super Thursday’, 600 titles hit the bookshops. Quite a few for the TBR (to be read) pile, although our social media audiences are well used to our discussion of this ever-growing fixture on most of our bedside tables.

We learned about some up-to-the-minute, freshly coined phrases such as ‘space marshal’ (someone whose job it is to enforce physical distancing), ‘crisis beard’ and ‘lockdown tache’ (well, you can guess the meaning of those). And thence to the most immediate type of text – actual texting, on a phone – with Macmillan Dictionary’s new listings of emojis and a report that young people can be intimidated by full stops in text messages, as they see them as a sign of anger. No doubt this discovery will send many older texters hurriedly back to Macmillan’s emojis to find appropriate graphics to use instead. (For, really, we can’t have *nothing* at the end of a text, can we?)

Even newer than all this was the idea of robots writing the text we read in the future. For a little shiver down your spine, read ‘A robot wrote this entire article. Are you scared yet, human?’

Useful tips

As ever, we scoured the internet for useful advice and tips for editors and proofreaders, from keyboard shortcuts for Word to how to write fight scenes, from editing recipes to using reference materials effectively. The winner, however, in terms of sheer, unmitigated first aid for anyone who edits or proofreads, was Adrienne Montgomerie’s blog, ‘Edit Faster! Triage for the Eight-minute Editor’, which linked to even more incredibly useful content. A treasure trove.

Tenuous links to animals

Our social media pages would not be ours if they didn’t have a generous sprinkling of animal references (real or, frankly, tenuous). We offered our readers variations on the famous Buffalo sentence (in case you’re wondering, it’s Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo), we brought them a history of the term ‘a load of old codswallop’ and Merriam-Webster’s readers’ pet peeves (OK, those two links *are* tenuous), but to crown the lot we posted a puppy, yes, a puppy, quiz. And then kicked ourselves for not having written one ourselves.

Down time

Not that you could ever be bored while following us on social media, but we posted a brief history of boredom, just in case our followers needed a reminder of what it felt like. Other lighter content included a selection of photos that illustrated the word ‘irony’, and, one of the most popular postings of August and September, an article in which an artist revealed the fonts used in some of the most recognisable logos (a surprising number of which were Helvetica). Finally, we shared the story of the anonymous New York Times typo-spotter (@nyttypos on Twitter), who is gaining a cult following, and in fact, proving quite helpful to the editors at the US newspaper. Not that we encourage typo-shaming of any sort, but on the other hand we love a mystery. After all, we’ve taken Penguin’s ‘Which famous detective are you?’ quiz, so we know we’re Miss Marple/John Rebus/Sherlock Holmes/Philip Marlowe/DCI John Luther/Hercule Poirot/Harry Hole/Jessica Fletcher …

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Photo credits:  Library by Giammarco Boscaro; Puppies by Jametlene Reskp, both on Unsplash

Posted by Abi Saffrey, CIEP blog coordinator.

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

CIEP social media round-up: June and July 2020

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

A CIEP commitment to anti-racism

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

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

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

All the free stuff

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

 

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

Never forgetting our bookshelves, or the location of the toilet

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

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

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

Loving letters

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

Time for fun

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

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Photo credits: letter and coffee – Freddy Castro on Unsplash

Proofread and posted by Abi Saffrey, CIEP blog coordinator.

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

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.

Blog post round-up

By Sarah Dronfield

There is a Facebook group for editors, Editors’ Association of Earth, in which I share a weekly round-up of editorial blog posts. If I read articles or listen to podcasts that I think will help editors and proofreaders with their continuing professional development (CPD), then they go into my round-up. They might be aimed at improving editorial skills and knowledge or they might give tips on marketing, for example.

It seems a shame that CIEP members who don’t use Facebook might be missing out on this opportunity for CPD. So, here is a round-up of some of the best posts and podcasts from 2020 so far.

The editor–author relationship

What do you do when you receive a request for proofreading, but it soon becomes apparent that the manuscript will need editing? Richard Bradburn can help you navigate this tricky situation.

As well as establishing the level of work required, there are other key questions that we should ask potential clients. Jo Johnston covers them here.

What about once you’ve agreed to work together? In this post, Pádraig Hanratty describes editing as a collaborative process and explores, step by step, how we can establish a good editor–author relationship. And this post, by Aaron Dalton, focuses on how to write effective editorial comments.

Sometimes, no matter how good the relationship, things do go wrong. Liz Jones details strategies that can help us cope with criticism. And here Erin Brenner explains how to write an apology letter to a client that may help regain their trust.

Imposter syndrome

This is something that even affects experienced editors from time to time. It is addressed here by Lisa de Caux. And here, Adrienne Montgomerie lists ten actions to fight it.

Efficiency

Learning to use keyboard shortcuts in Word can save you a lot of time. If, like me, you find that there are some you can never remember, it helps to have a list handy. Louise Harnby has kindly provided this one (for PC).

Editing and inconsistency

When editing, we usually try to ensure consistency; however, when dealing with numbers in creative writing, readability is more important. Carol Saller explains when to break the style rules.

Scams

There are various ways in which scammers target editors. One scam to look out for is the Frankenedit. This is when someone approaches multiple editors asking for a free sample edit of different parts of their manuscript in the hope that they will be able to have their entire manuscript edited for free. One way to combat this is to request the whole manuscript so that you can select the sample material yourself.

Ruth E. Thaler-Carter has a warning about some other scams.

Your website

These days, most of us have our own websites. When did you last check and update yours? Nate Hoffelder suggests some questions to ask yourself when refreshing your editor website.

Running and growing an editing and proofreading business

Denise Cowle and Louise Harnby regularly team up to host The Editing Podcast. They recently asked listeners to submit questions about anything they needed help with. The result was two episodes (around an hour each) packed with useful information and advice. Part 1 also contains a little mystery: what is that creaking sound? Don’t worry, all is revealed in Part 2!

In Part 1 they discuss topics such as contracts, invoicing, networking and marketing, and in Part 2 they answer questions about training, choosing a business name and managing imposter syndrome. Follow the links for the complete list of topics covered, and to listen.

COVID-19

Understandably, many people have been blogging about the pandemic, for example, how it has affected them and their work, and tips on getting through lockdown. Although some countries are beginning to come out of lockdown, we aren’t going to see a return to normality any time soon, so it’s useful to know how others have been coping with the situation.

There has been a certain amount of pressure to be productive in lockdown, but Lisa Cordaro is here to help you weather the silent storm.

Most of us are not new to working from home; however, some of us are now having to cope with sharing our workspace with partners for the first time, and those of us with children need to attempt some form of home schooling. In Part 1 of a blog about lockdown with kids, Claire Bacon shares ways to manage a daily lockdown schedule with children around, and in Part 2 she shares ways to manage stress and look after your mental health as a parent during lockdown. In a recent thread in the CIEP forums, members who are also parents shared the ways in which they are coping, or not; Cathy Tingle summarises that discussion here. (I contributed to that thread; my son is the Captain Underpants fan.)

Ruth E. Thaler-Carter has advice for those who are alone in quarantine times, and she points out that enforced isolation is not the same as isolation by choice.

Whether we live alone or not, no one is experiencing business as usual. Jennifer Lawler has some thoughts on steps we can take to build resilience in our work and our personal lives, and Erin Brenner also has tips on how freelancers can weather the crisis. And, in this episode of her Edit Boost podcast, Malini Devadas talks about managing emotions and a freelance business in uncertain times.

Andy Coulson has compiled a list of technology-based or focused resources that may be of use during this time.

And finally, the CIEP’s wise owls have some advice and thoughts based on their own experiences during the pandemic so far.

Sarah Dronfield is a Professional Member of the CIEP. She is a fiction editor based in South Wales. She did many things before finally becoming an editor: office admin, archaeology, travelling. These days, when not editing or home schooling, she can usually be found reading.

 


Photo credits: Begin by Danielle MacInnes; desk with headphones by Michael Soledad, both on Unsplash

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

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

Are you up for the challenge?

By Alison Gilbert

LinkedIn challenges are fun and interactive, and I use them to engage with my target audience. My background is in education, and I have spent years engaging with parents and getting them involved with their children’s learning. The best way I found was with a challenge – something they could do together with their child. So I adapted the same principle to my proofreading business.

Setting a challenge

To set a challenge, you need to know your audience. Who are you trying to engage with? What sort of challenge would they want to get involved in? Then make it relevant and topical. Keep up to date with recent hot topics, relevant to your line of business. People get more engaged if there is a reason or a discussion point, such as in my reading challenge.

I strongly believe that children should read every day, so I set the challenge for parents to read with their children every night for a week and at the end of the challenge share their child’s favourite story. My post was topical and people got involved and shared their love of stories. It appealed to authors, publishers and fellow proofreaders. It was my most successful post and trended on LinkedIn, receiving more than 1,000 views.

Challenges can also reflect national events and times of the year. During National Storytelling Week I set a storytelling challenge to create a story together. This appealed to my audience of authors and let them showcase their writing. However, this post was less successful. I was hoping to generate a complete story over the week. The first day went really well and I chose the start to the story. But unfortunately no one commented to complete the next part of the story. I tried posting it on different days, times and with different images – even the author of the start of the story re-shared it – but still no takers. People like the initial idea of a challenge, but maybe I was overoptimistic in attempting to build on my challenge every day. Possibly it was too time-consuming a task; so since then I’ve tried to keep each challenge manageable and easy to fit in with people’s daily lives.

On the Random Acts of Kindness Day I set a challenge to do an act of kindness. I felt it was a great opportunity to encourage people to think of others and to go above and beyond.

When creating a challenge, image choice is very important in attracting your audience to the post. I have found bold images have worked for me, and I type a clear message on top of them. Therefore, people don’t have to scroll through my text to see what my challenge is all about. I think of them as an advert containing all the basic information necessary to promote engagement.

For a bit of fun at Christmas, I set a Christmas homework challenge, to get everyone in the mood for a magical time. Life needs to be filled with moments of fun!

The Comms Creatives challenge

I love challenges so much that I undertook another company’s challenge. The 31 Days of Creativity Challenge was set up by Comms Creatives, a marketing company that runs courses to inspire creativity. Every day for the month of January, Helen Reynolds, the owner, sent me an email with a creative challenge to post on social media. I used the challenge to learn new skills, stretch myself and advertise my proofreading business.

The challenges included some outright fun and silly ones to get my creative brain in gear: creating words using spaghetti, making a picture with your meal (I created the Hungry Caterpillar using grapes and cucumbers), creating origami, choosing an uplifting song, inventing a sandwich for your hero (mine is Joey from Friends, who loves sandwiches) and writing your day in emojis. Some challenges were quizzes to find out your creative personality and what drives you. Turns out that I am a producer.

Quite a few of the challenges were to get participants thinking and talking about their inspirations. For example, creating a video about what advice you would give yourself if you could go back in time (mine were believe in yourself, everything happens for a reason and trust your instincts), writing about what inspires you, visualising your style and sharing what you believe in (I believe in a love of learning).

Part of the challenge really tested my creativity and put me out of my comfort zone, for example writing a limerick (see the image above for mine), drawing tasks (I hadn’t drawn since school), creating videos, creating a story using a plot generator, writing a poem using magnetic letters, creating a handwritten message, creating a calligram (I did a snowflake using words linked to proofreading) and creating a newspaper article using a generator.

Some of the challenges were about reminiscing about my life and these seemed the most popular of my social posts – I created a collage of photos of my life and did something from my childhood. My most successful post during the challenge was a video clip of the game ‘Mousetrap’, which trended on LinkedIn. People obviously like reminiscing about their lives too and seeing connections with others.

I really enjoyed completing the 31 Days of Creativity Challenge: I gained confidence to post regularly on social media. I learned new skills, such as how to create videos and newspaper articles, and stretched myself to be more creative. I made a lot of connections during the challenge with other people doing the challenge at the same time. It was great each day to see how everyone had undertaken the challenge and to comment on their progress. Comms Creatives regularly run the challenges and do some on other platforms too.

Why do the challenges?

Challenges are motivating to others and encourage interaction. They allow me to engage with my target audience by tuning in to what is important to them, relevant and purposeful. Hopefully, building relationships through engagement will lead to future work connections. The challenges stand out on social media as being different and fun, and people always like a challenge. They are a good way to test yourself, find out what you are capable of and learn new skills.

Have a go: I challenge you to set a challenge for your target audience. Are you up for the challenge?

Alison Gilbert is a freelance proofreader, qualified teacher and early years professional with a love of learning. She specialises in educational and mathematical proofreading. She is an Entry-Level Member of the CIEP based in Ramsbottom, Lancashire.

 


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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.

Seven things you didn’t know about the SfEP social media team

With a colossal 27,000 Facebook ‘Likes’, more than 10,000 Twitter followers, and edging towards 12,000 followers on LinkedIn, the SfEP social media accounts are a popular way of promoting the Society to a wider audience and a way of meeting edibuddies.

But have you ever wondered who the digital ninjas anonymously posting links are? It’s time to reveal all about the SfEP’s social media team.

1. Members of the Twitter, Facebook and LinkedIn teams are each responsible for a particular day or week.

The Twitter team is currently Richard Sheehan, Alison Walters and Anna Nolan. As well as posting, they also respond to any tweets directly addressed to @TheSfEP during the day they’re on duty. At time of writing, there are two vacancies on the team.

Facebook is our most popular platform and our team is currently Eilidh McGregor, Cathy Tingle and Rachel Hamar. At time of writing, there are two vacancies up for grabs here too.

Our LinkedIn profile is monitored by Jo Johnston, who tweaks and posts content from our blog (managed by Abi Saffrey). Despite posting regularly for just shy of a year, the SfEP on LinkedIn is proving extremely popular with editors and proofreaders all over the world, and we are seeing great engagement here, so don’t forget to find and follow us!

Community director Vanessa Plaister and marketing and PR director Denise Cowle oversee the teams and help us monitor any tricky responses we may get.

2. We’re all volunteers and also run our own freelance businesses.

We’re not elected to a committee or paid for our time. We are all at different stages of our editorial careers but we all feel it is important to actively support the work of the SfEP.
Our volunteer roles can be thought of as a bit of a side hustle.

Jo says: ‘I think you gain more than you give when you volunteer and that’s been true for my time volunteering with the SfEP. It’s injected a bit of discipline and structure into my working week, and at the same time I can piggyback onto the SfEP posts for personal use, which is a bonus.’

Cathy says: ‘Working in the social media team has helped me become more confident with the workings of Facebook and other platforms. It has helped me review my own social media strategy and revive my ailing LinkedIn account, which all helps raise the profile of my business.’

3. We share posts beforehand.

The team uses a closed Facebook group to share suggested links or ask questions. We lay claim to content that we find there, as well as content that we’ve found ourselves.

Cathy says: ‘I love finding interesting stories online, but my favourite part of the job is undoubtedly writing the text to go with the articles. It allows me to be creative in a way that I don’t have the opportunity for otherwise.’

The SfEP’s social media pages aim to provide links to useful or entertaining posts about books, language, editing and proofreading, and other issues to do with freelance life or running your own business. We also acknowledge the achievements of our members and promote the work of the SfEP. External links are interspersed with links to the SfEP website and blog, so that those who have discovered us only via our social media streams can find out more about the SfEP and perhaps even become members.

4. We are truly international.

About a third of our Facebook fans are from the USA, with 5,000 from the UK, and Canada, India, Australia and South Africa close behind in terms of numbers, followed by the Philippines, Mexico, Italy and Pakistan. Although we are a UK-based society, we try to bear this cultural variety in mind, for example by posting links that may be of particular interest to Canadians and Americans later in the day.

Rachel says: ‘Having recently moved out of the UK, I thought this would be a good way to stay in touch with the editing community and developments in publishing while I’m not working full time.’

5. We agonise over errors.

We’re painfully aware of how it looks if the SfEP’s posts have typos. But sometimes, as with any project, errors slip through when we are juggling paid work and other commitments with our admin roles. Believe us when we say we cringe and put it right as soon as we realise.

Anna says: ‘We beg a little patience from those who are quick to point out mistakes. We’re only human and we’d prefer comments to focus on the content of the links, not the introductory copy.’

Cathy says: ‘We can’t always get it right. We keep an eye on the comments so that we can respond as swiftly as possible when someone expresses disapproval or disappointment.’

6. It’s always a learning curve.

We don’t volunteer purely out of the goodness of our hearts – an element of continuing professional development is key.

Richard says: ‘It feels good doing something to contribute and it also keeps me up to date with what’s being posted around the internet.’

7. We’re always looking for more volunteers.

The formula of posting links to external content and the SfEP website and blog works well. A few people have said that our social media feeds are among the best they’ve seen from an organisation like ours. We’re delighted to receive such positive feedback and are proud of what we achieve as a team.

Anna says: ‘I love being part of a friendly, helpful and communicative team. I think we all work well together and there is a really strong sense of cohesion among us!’


If you’re a SfEP member and interested in joining the SfEP’s social media team, contact Vanessa Plaister: community@sfep.org.uk


This post is an updated version of Julia Sandford-Cooke’s post from January 2016: 10 things you didn’t know about the SfEP social media teams. Many thanks to Jo Johnston for the comprehensive revisions.

Photo credits: Happy jigsaw people – Alexas_Fotos from Pixabay; Smart phone Rami Al-zayat on Unsplash.

Posted by Abi Saffrey, SfEP blog coordinator.

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

Editors and social media: Facebook

In the fourth instalment of our series about how editors use social media for their businesses, Sarah Dronfield talks about what Facebook has brought to her editorial life.

Facebook logo

Why and when did you start?

When I started my editing and proofreading business in 2016, I already had a personal Facebook profile so, because it was easy (and free) to do, one of the first things I did was to set up a business page linked to that account. I didn’t know whether I would find clients via the page, and to be honest I’m not sure I ever have, but I do know that it drives traffic to my website.

I soon discovered, however, that Facebook could benefit my business in lots of other ways. Early on, I found out about a group called Editors’ Association of Earth (EAE): a place for ‘editors from anywhere to meet, have fun together, and talk about the issues and challenges that all editors share’. There and in similar groups, I learned a lot about editing in ways that aren’t possible from a book or a course. This was mostly from reading advice from or having conversations with people who have been editing for decades, but also from reading the many blog posts that were shared. In fact, there were so many great blog posts around, I thought it would be useful to have somewhere they could be ‘stored’ and easily found, so early in 2017 I suggested to the EAE admins that I start a weekly thread in the group, where the latest blog posts could be shared, with hashtags so that older threads could be found again quickly.

The idea for the weekly thread was partly inspired by an accountability thread in a closed EAE group – a place for editors to share what they’ve done that week to market their business or advance their professional development. When the person who was managing this thread said they wanted to step down in late 2017, I volunteered to take it on too.

I also set up a Facebook page (and Twitter account) for our SfEP local group back in 2016; I volunteered to do this at my very first local group meeting, and I’ve been managing the page ever since.

What do you share?

On my business page, I mostly share articles and blog posts I think will be of interest to potential and existing clients; I work mainly with Welsh authors of thrillers, historical fiction and children’s books. My pinned post is a glowing testimonial from happy co-author clients, and it’s the first thing new visitors to the page will see. And of course, when I write a blog post of my own (which isn’t often these days) then I share that too. I also share news of upgrades to my SfEP membership or about training courses I’ve taken, for example.

Facebook post on the Sarah Dronfield Proofreader page about booking tickets for the SfEP 2019 conference

On our local group page I share information about group meetings and things that may be of interest to potential clients (about writing and editing generally because between us we provide a wide range of services).

When do you share?

I try to share something to my business page at least once a month so visitors can see the page is active. I avoid posting too often because I don’t want to flood my followers’ news feeds, although I’m sure I could post more often than I do without annoying people.

Our local group page is really just there to send people to the South Wales Editors website, so I only post there very occasionally.

In the EAE groups, I share the blog post round-up every Monday and the accountability thread every Friday.

Why do you do it?

I came for the marketing, but I stayed for the advice, support and camaraderie. I may or may not have gained clients from my business page, but I have had work as a result of networking and making friends with other editors on Facebook.

What about other social media platforms?

In 2016, at the same time as I set up my Facebook business page, I also set up accounts on Twitter and LinkedIn. I rarely visit LinkedIn because I don’t like the platform and I don’t think it’s where my ideal clients are. I do like Twitter though, and I actually post there more often than I do on my Facebook page. But Facebook is definitely my favourite platform because I get so much more out of it. My business simply wouldn’t be where it is today without the huge amount of information, advice and support I have received from colleagues there over the last three years.

Any advice?

Explore the many Facebook groups for editors, spend time in them and find out which ones are most useful to you. There are all kinds of groups: for all things related to editing, groups specifically for academic or fiction editors, groups that focus on business or training, and many more. You can even start your own accountability group – find a few like-minded colleagues who are at a similar stage in their career and set up a secret Facebook group where you can share your problems and successes and help one another keep on top of your weekly tasks.

Finally, and perhaps most importantly, never say anything on Facebook – or any social media platform – that you wouldn’t want a client to read, even in a closed group: remain professional at all times. I’m not saying you shouldn’t relax and have a laugh with your colleagues or ask advice on how to deal with a difficult client, but you should avoid criticising clients (or fellow editors) and try not to get into arguments – it’s not a good look. Even if your clients can’t see it (and sometimes they can), don’t forget that colleagues can send work your way too, and they will only do that if they feel you are someone who can be trusted to behave professionally.

Sarah DronfieldSarah Dronfield is an editor specialising in fiction and is based in South Wales. She is a Professional Member of the SfEP. She did many things before finally becoming an editor: office admin, archaeology, travelling. These days, when not editing, she can usually be found reading.

 


If you’re on Facebook, visit the SfEP’s page to keep informed about upcoming events, to discover interesting articles and for the occasional giggle-worthy cartoon.


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

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

Editors and social media: Instagram

Continuing the series of posts about editors and social media, Tanya Gold takes us to the world of Instagram and tells us how she turns her working with words into striking pictorial snapshots.

Instagram logo

When and why did you start?

In 2015, I was chatting with some clients on Twitter and they were raving about this social media platform that was image-centric. It sounded like they were having a bunch of fun interacting with other writers there, so I decided to check it out.

I immediately loved how visual Instagram is and how you can use it to connect with new people on a variety of topics. Since I started posting about three and a half years ago, I’ve met all sorts of cool writers, photographers, illustrators, plastic dinosaur enthusiasts, and other creatives. I’ve even made some IRL friends and landed a few amazing clients.

What do you share?

I post about the books I’m reading, interesting things that I see around town or while travelling, literary activities, and my editing life (often illustrated by my editorial assistants). If I had to sum it up in a hashtag, it would be #editorlife.

I post about a lot of things, but I know that most of my followers come and stay for my editorial assistants. I get it. They throw the best office dance parties.

Toy dinosaurs, penguins, and sea creatures dancing on a desk. The text of the post is “It's Friday 🎉 It's absolutely lovely out 🎉 We hit our deadline and sent an edited memoir back home 🎉 @jessicacritcher's amazing and badass novel is back on our desk for more editorial love 🎉 You know what that means, right? 🎉🎉OFFICE DANCE PARTY 🎉🎉 🎶🎵🕺🐟🐙🎶🎼”

I work with a lot of authors who are active on social media. And I like to involve them in my posts – tagging them when I’m working on their projects (with their permission, and always keeping it very general and positive). This means that they get more people hearing about their books and gives them an opportunity to interact with more readers. I’ve had a number of clients ask for specific assistants to be featured in posts about their book or to be mentioned in a dance party.

It’s a lot of fun to interact with clients in this way. It also encourages them to share the images or to post about me, which puts my name in front of other writers and encourages word of mouth referrals.

A toy octopus and a T-rex standing in front of a pie, holding forks. The text of the post is “I've been working on @aliarosewrites's Sweet Enough for two weeks and I've already lost track of the number of pies I've made. Readers, this book will make you so hungry 🍴

When do you share?

I try to post photos at least a couple of times a week. If I’m travelling, about one picture a day. I try to limit myself to one photo a day. It’s about finding a balance. I don’t want to bombard people with photos and I want to stay present in their minds.

For other platforms, I schedule one post a week to make sure that I’m still active  even when life gets in the way. Instagram is the one platform where I don’t schedule anything. I want the images to reflect what is happening at that moment in my #editorlife.

Why do you do it?

What I love most about Instagram is that it’s about posting original content. Sometimes, I find it frustrating that I can’t share links and articles with my followers there, but that’s also part of its beauty. This limitation makes us share parts of ourselves, which can help to encourage more meaningful connections.

And I get to talk with people about books A LOT. It’s such a happy place.

What about other social media platforms?

Just like on Instagram, I like other social media platforms for the connections they allow me to make. I love Facebook for its editor groups, Twitter for its chats, Goodreads for all the books. All social media platforms offer different ways of interacting and forming communities. It’s a beautiful thing. It’s allowed me to make so many wonderful connections.

Any advice?

All social media is about interacting with people. Find your people. On Instagram, you can do this by looking up friends or by exploring what other people are posting.

Try out an Instagram #monthlychallenge if you want prompts to get you started. Take pictures of your #catsofinstagram. Post some #shelfies. Check out hashtags that are relevant to your interests. See what other people are posting on the same topic.

Interact with strangers. You never know what amazing people you might meet.

Tanya GoldTanya Gold is a book editor, writing coach, and literary omnivore based in Cambridge, Massachusetts. She’s been in publishing for about twenty years, and has worked on all kinds of cool books. These days, she edits fiction, creative nonfiction, and poetry. It’s been suggested that she reads too much for her own good. This might be true. Perhaps unsurprisingly, you can follow her on Instagram.

 

Posted by Abi Saffrey, SfEP blog coordinator.

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

Editors and social media: YouTube

In the second instalment of our ‘Editors and social media’ series, Denise Cowle explains why and how she uses YouTube for her business, and how that fits in with her use of other social media.

Screenshot of YouTube home page

Photo by Christian Wiediger on Unsplash.

When and why did you start?

In 2015 I went to a conference run by the Content Marketing Academy, where there was a workshop by Marcus Sheridan. It showed me that there was so much more I could be doing to promote my business online. I was full of enthusiasm and started blogging regularly and using social media to promote it and engage with lots of people, both editors and potential clients.
Since then I have embraced lots of new things, most recently taking part in a challenge which saw me produce one video each week for 13 weeks.

I’ve only been using video for a few months, but the results have been very positive so far.

What do you share?

I share my latest blog or video every week, plus I rotate through older content which still has value. Most of the stuff I create doesn’t date (it’s evergreen, to use a buzzword!) so it’s still relevant months or even years after it’s written or filmed. People aren’t necessarily going to find it directly from searching, so it’s good practice to put it out there at regular intervals to show what you have.

I don’t just share my own content – I read other blogs and websites, and there is a lot of really useful information worth sharing. I think if you share the good stuff it goes a little way towards pushing the useless stuff further down people’s newsfeeds!

When do you share?

Depending on the platform, I’ll share/post every day or several times a day, using a scheduling tool (Buffer) to automatically share my own content and other links that I’ve spotted but don’t necessarily want to share when I first see them. But I also spend a little time every day engaging with other people, liking, sharing and commenting on their posts as they appear in my timeline.

I find blogging quite time-intensive. It can take me four or five hours to write a blog, edit it, find or create the right images, and then do all the behind-the-scenes work for SEO, like adding links, meta-description, social share buttons and the sign-up buttons for my newsletter.

I’ve been surprised at how quickly I got into a rhythm for video production – it doesn’t take nearly as long to produce, as I can now film, edit and upload a five-minute video in around two hours, including all the SEO and techy things (like creating a custom thumbnail and choosing the right tags for that post) and the on-screen titles, cards and subtitles.


Screenshot of Denise's YouTube channel

Why do you do it?

It’s actually given me a lot of confidence – the first few videos I created were pretty dodgy, but I kept going and picked up advice on improving the technical aspect of it and the presentation skills needed for talking to my iPhone while it’s balanced on a pile of books on a stepladder (you can manage perfectly well without high-tech equipment!)

Generally, I keep motivated by the feedback I get from people who enjoy what I produce and share it. More importantly, when clients tell me they read my blog or saw my video, that tells me that I’m doing the right thing. Writing or creating videos about editing-related topics shows people I know what I’m doing, rather than me just telling them that!

The videos have been incredibly effective, particularly when I upload them natively to LinkedIn (natively means publishing the video directly on that platform, rather than posting a link to the video on my YouTube channel). I got several new clients directly as a result of them seeing my videos. One was a global publisher I hadn’t worked with until now, and another was an edtech company who asked me to reshoot one of my videos for them, so they could use it in one of their courses! Now THAT was something I didn’t see coming!

Getting concrete results like that is all the motivation I need!

What about other social media platforms?

Although my videos are created for my YouTube channel, that’s not primarily where people will go to look for them, so I upload them to LinkedIn, which has far and away been the most effective platform in terms of engagement and actual sales, and I share on Twitter and my Facebook page. It sounds like a lot but only takes a matter of minutes to do.

Any advice?

I would encourage anyone to have a go at video. If you have a decent phone and somewhere quiet to record, that’s enough to get started. I dipped my toe in the water with some Facebook Live broadcasts last year, just to get used to speaking to camera. I also watched quite a few online tutorials about getting started, which gave me lots of helpful tips, particularly about setting up my YouTube channel.

And it doesn’t have to be perfect – I’ve left bloopers in and made a feature of them. Video is a great way of showing your personality – you know you’re fabulous, and now your prospective clients can see that too!

Denise CowleDenise Cowle is an editor and proofreader based in Glasgow. She specialises in non-fiction, particularly education and business, and edits for a variety of global publishers, companies and organisations.

She has an interest in continuing professional development and content marketing, and when she’s got spare time she loiters on social media and writes her blog.

Denise is an Advanced Professional Member of the Society for Editors and Proofreaders and is also its Marketing and PR Director.

 

Posted by Abi Saffrey, SfEP blog coordinator.

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

Editors and social media: Twitter

In the first of a new series looking at how editors use social media platforms, Kia Thomas talks about her Twitter motivations and habits.Twitter logoMy name’s Kia, and I’m a Twitterholic.

When and why did you start?

I find it very hard to believe that once there was a time I didn’t really understand Twitter. Why would you go on it? What was the point of telling strangers things in (then) 140-character bursts? And then one day in 2012, I decided to give it a go, and I was hooked. A bit too hooked – I lost many, many hours staring into my phone, and a couple of years later I decided to take a break. But when I started my editorial business in early 2016, I knew it was time to flex my Twitter muscles once more.

I went back to Twitter because my former experience had shown me it was – in amongst the political squabbling, Nicki Minaj GIFs, and cat pictures – a powerful tool for connecting with people. It’s a wonderful way to keep up to date with trends, issues and events in your industry – as a newcomer to publishing, this was invaluable to me. And there is, or at least there can be, a real sense of community on Twitter, if you can find the corner of it where your tribe hang out. Editing Twitter is definitely one of those corners – we chat, we laugh, we debate about all things word- and book-related (and food. There’s a lot of food in Editing Twitter).

What do you share?

I try to keep my Twitter posts mostly related to what I do, so at least vaguely connected to words and books and editing, but sometimes I veer off and post things that are more personal, such as tweets about my kids, especially if they’ve been particularly cute/enraging that day. One of the good things about Twitter is it’s easy to stay active even when you’re only popping on quickly – you can share other people’s tweets and content, or take part in whatever meme/game is currently doing the rounds, so If I’m busy and don’t want to spend too much time on Twitter, I do that.

When I do post more of my own content, my main concern is to keep it funny. I go on Twitter for business reasons, but as a reader/viewer/consumer, I want to be entertained, so that’s what I want to do for other people too. Sometimes I’m pretty sure I’m only amusing myself, but some of my original content gives other people a giggle too – a recent thread I wrote outlining a DEFINITELY REAL AND ACCURATE (spoiler: not so much) approach to editorial pricing seemed to go down pretty well. It garnered lots of retweets and several cry-laugh emojis, anyway. I also use Twitter to share my blog posts, and grumble about Microsoft Word (don’t we all?).

Twitter thread by Kia Thomas

When do you share?

I try to tweet most days, but less frequently if I’m trying to stay away from Twitter for time-saving purposes. I spend barely any time composing most of my tweets, because I am naturally spontaneously hilarious, interesting and wise. But If I’m tweeting something designed to be more engaging, such as my #TheDailySwear tweets (last year, I tweeted one compound swearword every day, with my personal preference on how it should be styled), or a blog post, that obviously takes me longer. My ‘comedy’ threads don’t take me all that long, because they’re pretty much just me opening my brain and letting some silliness fall out. The most time-consuming part is arranging the text so the tweets don’t go over the character limit!

Why do you do it?

Well firstly, because it’s fun, especially when I get to be silly. Some people might baulk at that as a marketing strategy, but it works for me and my personality (humour is all I have, dammit! And swearing. Don’t forget the swearing). But I also love Twitter because working at home on your own can be really lonely. Twitter and other social media are like my virtual office, providing me with colleagues to chat to and connect with. It gives me a sense of belonging to a community, and that can be invaluable in fighting isolation. It provides networking opportunities – I have definitely had work and other professional opportunities that I can trace to Twitter. For example, this year I gave a session on swearing at the SfEP conference, which came about because of a blog post I wrote that was based on my Daily Swear tweets.

What about other social media platforms?

Twitter is the social media platform I find the most interesting and easy to use. I do also have Facebook, but I post very little on there outside of the groups, and my poor business page is horribly neglected. I recently signed up to Instagram, despite the fact that I’m absolutely terrible at taking pictures, and I have my Instagram account linked to my Twitter, so it’s a good, quick way of sharing more visual content on Twitter.

Any advice?

Twitter can be an amazing place to network with colleagues and potential clients and can lead to work. But it’s important not to approach it solely as a marketing opportunity. It’s easy to think you can go on Twitter, say ‘Hire me, I’m awesome’ and wait for the offers to roll in, but in reality it doesn’t work like that. Relentless self-promotion is boring, both to the person doing it and those reading it. Social media networking is like all networking – it works best when you are sincere. Be interested and interesting, help as much as you ask for help, and you’ll find the experience so much more rewarding. I use Twitter to build my online presence in the hope it will help my business be successful, sure, but I’m also building real connections that benefit me in so many more ways than just the prospect of work.

There’s a dark side to Twitter – there are some terrible people on there, there’s an awful lot of news that can make you angry, and it can be an astonishing time-suck – so take steps to protect your time, energy and mental health. Take breaks when you feel overwhelmed by it, realise you don’t have to read or respond to everything, set up filters so you don’t see things that distract you – whatever you need to do to manage your experience and set boundaries. But if you can get the balance right, there’s a wonderful community there just waiting to welcome you with open digital arms. And cat pictures.

Kia ThomasKia Thomas spent 12 years in the arts before becoming a freelance fiction editor at the beginning of 2016. She specialises in contemporary romance and is an Intermediate Member of the SfEP. Kia lives in South Tyneside, and she can often be found networking with her colleagues in online spaces (i.e. spending too much time on Twitter).

 

Posted by Abi Saffrey, SfEP blog coordinator.

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