A week in the life of a transcript proofreader

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Since moving to the USA, freelance editor Christina Petrides has picked up a more unusual type of proofreading work. She tells us what a typical week proofreading legal transcripts for court reporters looks like.

Court reporting in the USA

Unlike in the UK, the US legal system still relies on human court reporters – also known as stenographers – to accurately record what is discussed. (The UK system has moved to digital recording.) Think of any American TV courtroom drama and there is usually someone quietly typing away on a funny-looking typewriter – the stenotype or stenograph machine – and you’ve got the idea.

Similar to shorthand, the machine has a series of keys that are programmed by a court reporter to reflect the phrases they come across most often. These could relate to the types of cases that they report on, their location or the sort of cases they take on – eg trials, depositions, hearings (arguing legal motions) before a judge or even company board meetings – making it easier for them to quickly record what is being said.

Once a hearing or deposition is over, the court reporter will translate the text, transforming the shorthand text into English, and do a first edit. Then it’s ready for proofreading. There are specific software programs that court reporters use and proofreading can be done either

directly into the software program
in PDF format using annotations on the full file, or
in PDF but returning only an errata sheet.

Proofreading depositions and hearings

I work with three court reporters, two of whom work full time. They are based in Utah, Illinois and Florida but often work with lawyers or on cases filed in other states. Between them they work on depositions and hearings on injury law, corporate disputes, property tax and local planning meetings. They all send me a PDF file for proofreading and expect a full marked-up file in return.

The critical element of proofreading a verbatim transcript is that you cannot make any changes for bad grammar or incorrect phrasing. What you can do is ensure that a transcript is readable and clear. Nowadays, searchability is also important since lawyers will often do a search with specific words, so consistency is crucial. I use the iAnnotate program on my iPad to work and have created stamps for the most common issues or words that I encounter or use. It also allows me to type in words where I think something may be missing and to highlight text to draw attention to something that is unclear.

Is there such a thing as a typical week in court reporting?

Not really! While there may be similarities across the types of cases, each one is unique because each involves different individuals. After three years, I am a little more familiar with the lawyers that engage my court reporters most often. So I’m more accustomed to how they speak – short, pointed sentences or long, rambling trains of thought.

But the plaintiffs and defendants in every case are different. They have their own way of expressing themselves, and more often than not this is their first deposition so they’re nervous. In many cases an interpreter is involved. Some people mumble, making it harder for the court reporter to pick up the correct words, while others nod and shake their heads or say ‘It hurts here’ not realising this won’t make any sense to whoever is reading the transcript. Then there are those who don’t have English as a first language but don’t need an interpreter and have an unusual way of getting across what they want to say.

Proofreading throughout the week

Copyediting and proofreading are so different that I find I can switch between them throughout the day and week and reset my brain, keeping it fresher and getting more done than if I only worked on long projects. I tend to start my day with a strong coffee and a transcript – the double whammy fires up my mind! – and come back to it as and when I need to switch things up.

The most common issues I find are typos (which could be a mistranslation or reporter error) and misplaced or missing punctuation. Readability is key, so punctuation matters. Without changing the meaning of what a deponent is saying, I try to ensure a sentence is clear and understandable. Occasionally, if a proposed comma could alter the meaning, I add a note in the margin so the reporter knows to check against the audio; after all, they were there so will know better than me what a deponent was trying to say and they must certify this is an accurate transcript. Otherwise, inverted words crop up, homophones creep in, and double words make an appearance in most transcripts.

Scheduling transcripts into my workload

After three years, I’m comfortable with how many pages I can proofread in an hour, so it’s easier to schedule the transcripts I need to turn around into my week. The tricky part is that I rarely know what’s in the pipeline. Regular turnaround is three days, so unless I’m inundated from all three court reporters, it’s manageable. A few times a month there will be a rush job that needs a 24-hour turnaround, but my reporters will always check my availability first. Then there is the odd occasion when I need to drop everything and get a transcript proofread.

The best part about this type of work is that I have learned so much about life here: the geography of different states, linguistic nuances from one region to the next, new expressions I’d never heard of before, and how different people live their lives. I can’t live without my online Merriam-Webster dictionary link, and Google is my best friend for checking new place names and proper nouns and sleuthing for clues of what something could possibly mean or how it may be spelled. This often happens when people use industry jargon.

I got started with this work after my husband (a former proofreader who specialised in this field) trained me on the characteristics of verbatim legal transcripts and passed on some of his clients, and I’m glad I did. There are rare times when the details of a case are difficult to read about, but I love it. How could I not when I’ve got the odd malapropism to keep me amused – like the deponent who kept saying that people did things ‘of their own fruition’ – and I can literally work from anywhere on my iPad?

About Christina Petrides

Christina Petrides is a digital nomad and spends much of her time working on the road. She switched to editing and proofreading in 2017 after a career in environmental consultancy. As well as proofreading for court reporters, she edits non-fiction texts for academics and publishers, specialising in the environmental and sustainability fields.

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: header image by WilliamCho on Pixabay, empty US courtroom by David Mark on Pixabay.

Posted by Eleanor Smith, blog assistant.

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

Flying solo: Time management for yourself and for your business. Part II: Action!

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In this two-part article, Sue Littleford takes a fresh look at time management. She starts by covering the diagnosis – how much time you actually have – then goes on to examine what can go wrong with time management, and how to counter this.

In Part I of this article I looked at the basic information you need to improve your time management – knowing how much time you have, and how much time you need. Now we’re going to run through the main ways that spanners land in the works.

We can mess things up in all kinds of ways, and others can have a very good go at messing things up for us. As with all problems, knowing yourself and making appropriate adjustments is key. It’s part of running your business to manage your time effectively (and ideally efficiently). There are several points of weakness when it comes to managing our time. I’m going to address some of them here, in no particular order.

The first step in not messing things up is spotting your weak spot. Do you recognise any of these?

Procrastination

Putting off getting started is not going to help anything, or anyone, least of all you – learn to swallow the frog (do the horrible thing) as early in the day as possible so it’s not looming over you.

I read an interesting theory somewhere that procrastination is the body’s way of telling you you’re exhausted, mentally or physically. Does that strike a chord with you?

The difference between a professional and an amateur, I discovered a long time ago, is that the professional gets on with work even if they don’t feel like it (within reason!). So, how do you actually knuckle down to work when every cell of your body is screaming that you don’t want to?

I sidle up to things. I’m not going to start this scary edit. I’m just going to … remove all the excess spaces. Maybe check the headings are capitalised correctly. I’m definitely not going to do any work. Before I know it, I’ve been sucked in and am bouncing along, merrily working. Some Cloud Club chums tried this and have attested it works for them, too.

I discovered this way of approaching things when I had essays I had to write at university but wanted to do anything else but. So, I decided, the hardest part is beginning. Skip the beginning, then!

Thus I developed The Sidle. Maybe I’d jot down a few notes for the middle bit. If I knew what I was going to be introducing, I reasoned, surely writing the introduction would be a breeze instead of the insurmountable barrier I felt it to be.

It works a treat. It worked for this article! If getting started is a problem for you, try sidling up to things – definitely not working on them, just … doing work-adjacent things.

Researchers suggest different ploys – one size not fitting all – and suggest sticking reminders in your calendar (do actually set the reminder function to thrust the offending deadline in your face) or imagining Future You faced with the undone thing and having to deal with it in less time.

Jobs not arriving on time

Aaargh – you’re sitting there twiddling your thumbs, waiting for a job, watching the start date for the job afterwards getting closer and closer. Communicate with the erring client. Get a revised date and see what you can juggle.

If the client doesn’t have the same commitment to calendars that you have, you may have to tell the client they’ve missed the boat and they’ll have to reschedule when they’re ready. Or you could decide to make a rare exception to help them out and work silly hours for a short while. But do make such exceptions genuinely rare if you want to be the one in control of your time, rather than have clients – who don’t see the whole picture – dictating things.

Jobs taking longer than expected

It happens, no matter how accurate your preparations and brief from the client were. There’s something nasty buried in the middle of the text that no one spotted, and the essential decision-maker is off sick – we’ve all been there. Aside from considering whether you need to renegotiate the fee, you need possibly to renegotiate the deadline.

However, if the job itself is as expected, and the problem lies in your estimating ability, read on …

Lack of data

This one is easy to do something about, starting right now. See ‘Using your records to price jobs and make business decisions’ and ‘Facts for fiction editors’. If you’re a CIEP member, get your work record spreadsheet from the Going Solo toolkit to get you on the right track.

If you don’t know how long things really take you, you don’t know how much time you’re going to need when you estimate price and duration for a new job. If you don’t know how much time you need to get a job done, how are you going to manage your time effectively?

The CIEP’s course Efficient Editing: Strategies and Tactics will help you discover how long the various elements of a job take you and how to put them together to calculate a probable duration – or how to work out how much of a job you can do in the time budget set by the client.

Lack of planning

Do you deliberately include wiggle room in your estimation of time? If you don’t, start right now! How much you include will be personal to you – your health, your commitments outside of work and your personal preferences. I allow at least two spare days per book, for instance. At least two.

Do you intend to be finished by the deadline, or a day or two before it? Guess which plan best allows you to deal with disruption.

Overcommitting

I’m a great proponent of saying no! Hardly anyone is ever offended, it’s truly a liberating feeling and you get to manage your time better.

Sometimes you have to say no to something you really wanted to work on, and that’s sad. Sadder is saying yes and messing up because you really didn’t have the time to do the text justice. Ditto for agreeing to too-short deadlines.

Remember – you can say no without explaining yourself, or feeling you have to provide an alternative editor. Just say ‘I’m fully booked and won’t be able to help you on this occasion.’ If you want, you can always send the potential client to the CIEP directory to find someone else.

Poor prioritising

I’ve already mentioned swallowing any frogs you have in your virtual in-tray. But there are other ways that poor prioritising can have an impact on you.

Take a look at the job as soon as it arrives, to make sure you have all the material and all the instructions, and that the instructions are workable. If you put this off until you’re ready to start and you encounter problems, you’re losing time that could have been spent doing the work – you need to allow time for other people to respond.

I always try to think of what happens next to the piece of work I have in hand. If someone else has to do something before the work comes back to me, can I arrange my work so that their bit is done first and give them the maximum time to meet the deadline?

If I’m incorporating an author’s responses into the file, then this is my line of thinking. It’s the reason I much prefer to send queries out chapter by chapter rather than when I’ve got to the end of the book.

Lack of rest

If you’re exhausted from working too long without a break, your working days are just too long anyway, or you’re living with or recovering from an illness, work is going to take longer and longer and longer. Grinding on is inefficient, no matter how noble it makes you feel.

Take the time off – nap, go for a walk in the fresh air, take a full hour for lunch – and come back ready to tackle work again with a clearer head and more energy.

The (un)expected invasion of real life

If you have allowed some of my infamous wiggle room and planned to finish the work a day or two earlier than required, then real life barging into your work life is easier to manage.
Of course, it depends on what the issue is. Some things you’ll be able to cope with because you’ve granted yourself the bandwidth to be able to deal with things besides work. Other things will be bona fide catastrophes, and a couple of days of slack built into your schedule is not going to help.

But these aren’t run-of-the-mill occurrences. If they are, then you need to pay attention to where the weak spots are that are causing the disruption and take some form of action. You’ll feel better for being proactive, and you may be able to reduce, even if you can’t remove, the impact.

Force majeure

This is the unforeseeable circumstance that stops you from fulfilling a contract. The key word there is ‘unforeseeable’.

For a freelancer, it’s probably going to be something that’s pretty devastating in your personal life. But the news is full of people to whom bad things have happened, so do include some mention of force majeure in your boilerplate contracts / terms and conditions.

Even problems short of force majeure should be allowed for in your contracts, by the way. Include clauses about what happens if the client – or you – are late delivering the files.

Lack of a disaster recovery plan

Some disasters can be anticipated. A dead computer, lost files, these are things you can plan for and take some early action.

Other disasters will be tackled via thought experiments, from which some action, or at least some ideas, may flow. What do I do if the house burns down? What do I do if my life partner is seriously ill or dies? Or another family member, or a dear friend? What will others do if I am seriously ill or die? The CIEP’s Wise Owls took a look at this, and there’s a CIEP fact sheet on the subject, too.

A lack of such preparation means that when (if) disaster strikes, the stress is so much the worse as is the loss of valuable time while you scurry around trying to deal with the problem with that increased stress level in the middle of the maelstrom.

If you’ve not yet read Part I of this article, do take a look at it if you want to figure out how much time you actually have for work, and how much work you can accept.

Over to you

What time-management ploys have worked for you? Tell us in the comments!

About Sue Littleford

Sue Littleford is the author of the CIEP guide Going Solo, now in its second edition. She went solo with her own freelance copyediting business, Apt Words, in March 2007 and specialises in scholarly humanities and social sciences.

About the CIEP

Find out more about:

Photo credits: header image by Aron Visuals, Procrastination by Annie Spratt, chaos by Brett Jordan, sleeping cat by Kate Stone Matherson, all on Unsplash.

Posted by Belinda Hodder, blog assistant.

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

Flying solo: Time management for yourself and for your business. Part I: Diagnosis

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For freelancers, without the discipline of a line manager breathing down your neck and looking over your shoulder at what’s on your screen, without the structure of fixed working hours, time-management skills can get a bit flabby.

Time management boils down to three main elements: knowing how much time you have; knowing how much time you need; and not messing things up. In this article, we’ll take a look at the first two, and in a separate article, we’ll run through the not-messing-things-up aspect (this turned out to be a subject on which I had a lot to say!)

Knowing how much time you have

Take a good hard look at your week. How much time is available to work? How much time – and when – does your family need? How much time – and when – do other commitments take? How much time do you need for the essentials – eating, sleeping, household tasks? How much downtime do you need? Pro tip: do not skimp on sleeping time or relaxation time.

How about your month? Your year? Figure out how much time is available for work. That may vary from day to day, from week to week, as other commitments and wishes take priority. But come up with a basic work diary that will show you your work time, and block out the time you need for everything else. If you have holidays in mind, into the diary they go.

Researchers have figured out that five hours per day of intensive work is all you’re going to do, healthily, if you want to have a long-term career without burnout.

Do you use the popular Pomodoro technique of 25 minutes’ work then a 5-minute break? I don’t. The brain starts to lose concentration after around 45 minutes. But did you know it takes more than 20 minutes to get back into a deep-work state?

Those two figures together mean I’m not a fan of Pomodoro. Editorial work is deep work, and breaking off halfway through my capacity to concentrate, only to take most of the next work period to get back into the flow, is anything but helpful for time management. I’ve found I come up for air at around 50–65 minutes, so that’s when I take a break. I get much more work done than when I was trying to work to the Pomodoro timings.

In an ideal world, you’d arrange your work to suit your personal rhythm – are you a morning person or an evening one? It’s useful to know when you find it easiest to concentrate and work efficiently and effectively, but in some people’s lives, that’s a luxury for some future year.

Cal Newport’s Deep Work: Rules for Focused Success in a Distracted World is an excellent read for people doing editorial work.

Taking holidays: Respecting yourself

When you think of scheduling time off, what barriers do you put up? That clients will never approach you again if you’re away when they contact you? (Answer: let clients likely to contact you know you’re going to be away from your desk. One person I spoke to about this suggested putting your holiday dates in your email signature – neat. And learn how to turn on your out-of-office autoresponder for your email. Clients take holidays themselves: they’ll understand.)

Or do you have FOMO – fear of missing out – on a plum job?

Or perhaps you feel you can’t afford it. That’s more likely in the early years when you’re building up your business – especially if you’re the only or principal breadwinner. If you’re not at work, you’re not earning. That’s an argument for ensuring your fee rates cover not-work time as well as all your other overheads, something I wrote about on my own blog (the key bit is towards the end of the article).

It’s sage advice to add to your cushion of cash whenever you can – a counsel of perfection, I know, but one worth aiming for. Part of that cushion is for non-working times, whether that’s voluntary holidays, work famines or some other rainy-day need.

If you fail to take holidays because the client always comes first, then it’s time to set yourself some personal boundaries, and learn to respect yourself, and them. It’s far healthier, mentally and physically.

People who don’t have partners or children at home probably find it easier to cave in and fill a holiday week with work than those who have given commitments to other people. If this is you, is there someone you could give an equivalent commitment to? If you’re not going away, then perhaps you could book in some activities or trips with a friend?

Knowing how much time you need

Now you know how much time you have for work, how much work can you take on to fill that time? It bears repeating – do not plan to work 100% of your available time. You’ll need a buffer for the unexpected. If you are fully committed, every moment of your waking life, where’s your capacity to cope if something happens off-schedule? If you catch a bad cold, let alone anything more time-consuming?

If you’re worried about having gaps in your diary, know that you can fill them with marketing, with training or continual professional development, with reviewing your processes – all things that contribute to your business, but that are less riveted to the spot in terms of deadlines. It also leaves you the capacity perhaps to say yes to an unexpected job offer if you want to.

Know your work speed if you want to schedule jobs accurately

I started keeping stats on my work throughput as part of my invoicing system when I started freelance editing in 2007. I’ve made various improvements since then, and you’ve seen the result in the Going Solo toolkit’s business records.

After years of data collection, I know how fast I usually work on different kinds of material, what my slowest is, what my fastest is, how work from repeat clients is likely to absorb my time – all kinds of essential information.

I have, essentially, a database to compare new jobs to, which will tell me how much time I’m likely to need (and then I add wiggle room). But from the moment you record your first job, you’re on your way to building up your own database, which will just get more and more useful.

Without information on how long things take, you can’t schedule work with confidence, because you’re basically guessing.

Now you know how much time you have available, and how long various kinds of work take. If you’ve taken my advice, you’re not trying to squeeze a quart into a pint pot (a litre into a half-litre pot doesn’t have quite the same ring, does it?).

Planning a timetable

Rough out a timetable with milestones, so you know how far through the job you need to be every two or three days. It will help you work out whether the deadline is feasible, and it will draw some lines in the sand so you’ll know if you start to lag behind.

For books, I do this by printing out the contents page, and noting how many pages in each chapter, then use my knowledge of my work speed to figure out how long each chapter will take me. Then I assign each chapter to a day, or two days, depending on length and complexity.

For articles and other short pieces of writing, this isn’t nearly so complicated, but if you’re doing a lot on a fast turnaround, treat each piece as part of a larger whole – do you have to finish three today and three by the end of the week? There’ll be some kind of expectation, so jot it down so you know that you’ve done enough for today, or that you need to make an earlier start tomorrow.

There’s no need to draw up fancy charts, which themselves are time-consuming to produce. But do remember to fit your timetable around your other commitments – it has to be realistic (and include some wiggle room, of course).

Ready to read Part II of this article?

Over to you

What time-management ploys have worked for you? Tell us in the comments!

About Sue Littleford

About the CIEP

Find out more about:

Photo credits: header image by Agê Barros, beach holiday by S’well, diary by Jeshoots, all on Unsplash.

Posted by Belinda Hodder, blog assistant.

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

My CIEP journey

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As she moves away from full-time editing, and steps down from her role on the CIEP information team, Liz Dalby looks back at what the CIEP has meant to her. (And what it will continue to mean in the future!)

I’ve been an editor for 24 years, and a member of the CIEP/SfEP for about 13 years. For the entire duration of my membership I’ve been a freelance editor, but I’ve recently changed career, and returned to full-time employment as a bid writer – more on which later.

Awareness of the SfEP

Although I only joined the SfEP after I went freelance, I’d been aware of it from very early in my editing career. My manager in my first publishing job handed me a slim booklet one afternoon and asked me to find a suitable proofreader for a project we were working on. This was the original hard copy incarnation of the SfEP Directory, now of course the online CIEP Directory of Editorial Services.

It wasn’t until I was working for myself, many years later, that I properly understood the value of a community of like-minded editors. I was living in rural Somerset, with my only professional contacts based in London and feeling increasingly distant and tenuous. Although I was fortunate enough to have a steady flow of work from in-house colleagues, I was aware of the precariousness of my set-up, and joined the SfEP mainly to improve my job prospects.

Finding a place in the community

However, I was soon caught up in wanting to prove myself and make my mark. I had a decade of experience behind me, and was determined to become an Advanced Professional Member as soon as possible. In fact, that turned out to be harder than I’d expected, not to mention bruising for the ego, but I got there before too long. What next? I wondered. I had a vague notion of wanting to get stuck in somehow, and perhaps even give something back.

I wrote to Gerard Hill, then in charge of the SfEP’s mentoring programme, and offered my services as a mentor. Gerard was kind enough to take me on – though, looking back, I still had an awful lot to learn myself about proofreading, let alone helping anyone newer to the profession to learn the art. But I went on to work as a proofreading and copyediting mentor for the next ten years, mentoring about 50 people in that time. I learned so much by doing this – we don’t often see the work of other editors in detail, so that was a complete privilege. I hope I helped the various mentees I worked with, too.

SfEP Council work

It was working as a mentor that got me noticed by the Council, and I was headhunted for the first and only time (so far!) in my life, joining the Council in 2013. I stayed for just a couple of years in the end. It was a fantastic experience, and I thoroughly enjoyed my work as professional development director in particular. However, it was A LOT to deal with on top of running a business full-time and dealing with two small children.

What I took from my Council experience, aside from professional development that might not have been open to me working purely as a freelance editor, was a deeper connection with the freelance editorial community. In the years since leaving the Council, I’ve tried to maintain that, and later moved into blogging about editing, both for myself and for the SfEP and later the CIEP. In this way I’ve kept in touch with the community and shared (and sometimes overshared) my thoughts on this strange and wonderful profession of ours.

The CIEP’s information team

From 2019 until now I worked on the CIEP’s information team, being responsible first for the outward-facing newsletter, Editorial Excellence, and then the member newsletter, The Edit. With the other members of the team, under the guidance first of Margaret Hunter and most recently Abi Saffrey, I’ve also written and commissioned numerous resources such as fact sheets, focus papers and guides, on all aspects of editing and freelancing.

As I mentioned at the start of the article, though, I recently decided to change career. I’ve loved being an editor (and I do still do a little editing), but for a while I’ve also known that I wanted to give myself a new challenge and try something different. A quarter of a century is a really long time to do anything, and working freelance can take its toll after a while. I’m proud of the mental resilience that has enabled me to run a solo business for as long as I have, but I knew I was ready to return to a team and feel part of something larger.

Looking ahead

I now work for a foodservice company, writing executive summaries for new business proposals, and I absolutely love the work. It’s a breath of fresh air after so long in and around publishing. I am using all the skills I’ve amassed over the years, from writing to proofreading to project management, while also being immersed in a completely new industry. I still work mostly remotely, but I’m often in online meetings, and no two days are the same. I have absolutely no regrets about my midlife change of career.

But if I’m no longer strictly an editor, where does this leave my CIEP membership? I’ve seen friends and colleagues change career in the past, and sooner or later leave the CIEP, which is perfectly valid. However, I’m not ready to go just yet. For a start, I am still taking on a few selected editorial commissions, so it would seem responsible to keep up to date with best practice, and CIEP membership helps me do that. And I’m still working with words in my day job, so membership is still tangentially relevant. Finally, I’m simply not ready to leave the community of friends and colleagues to which I have given a lot but also got more back in return. I never could have lasted so long on my own without it.

The last few years have been momentous for the CIEP, as it’s changed its name, acquired chartered status, and many things about the way it is governed and run have evolved. And for now I really want to see where the institute goes next as a fully paid-up member, not an interested observer.

About Liz Dalby

Liz Dalby has been a communications professional for 25 years – the first 24 as an editor, with a recent move into bid writing. As an editor, she worked on thousands of mostly non-fiction projects for a huge range of clients. She also worked on the CIEP information team from 2019 to 2023. She enjoys blogging about aspects of editing, writing and freelancing. When she’s not working with words, she likes yoga, running and painting.

About the CIEP

Find out more about:

Photo credits: header image by Matt Howard on Unsplash, woman at a laptop taking notes by Judit Peter on Pexels.

Posted by Eleanor Smith, blog assistant.

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

Curriculum focus: Developmental editing

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In this regular feature for The Edit, former training director Jane Moody shines a light on an area of the CIEP’s Curriculum for professional development.

Developmental editing is a tricky one to pin down in the curriculum. You could argue that anything that applies to general editing also applies to developmental editing, so all the skills are equally applicable. There are not many specific resources to support learning in this area, although there are some specific courses.

In the table I have picked out some of the competencies, skills and attitudes that you should be able to evidence under each of the criteria. I’ve listed some suggested supporting resources below the table.

Knowledge criteria	Editorial competency, professional skills and attitudes
2.2.3 Voice and tone	• Understands reading level, register (degree of formality) and use of terminology appropriate to the type of publication and audience
2.3.1 Judgement of sense	• Has general knowledge appropriate to the genre and subject area they are working with • Understands judgement of sense: does content appear correct and appropriate for context? If doubtful: flag, query or change? Is change justified and appropriate? • Understands vocabulary and idioms (corrects any easily confused words; if not the right word, can supply a suitable replacement) • Can explain/justify changes
2.3.2 Judgement of voice	• Understands and respects author’s voice but can assess whether suited to the content and the target/likely audience, appropriateness for context • Can make changes in keeping with context
2.3.3 Clarity in writing	• Understands the need to avoid ambiguity • Understands appropriate use of language and tone • Understands conciseness (elimination of redundancy/repetition) • If space is limited or layout is fixed, is aware of the need to fit any change into the available space without causing a new problem • Can reword appropriately to simplify, clarify or shorten text • Can identify whether material is well expressed and flows logically, with the ideas and wording easy to follow
2.3.4 Author and client queries	• Understands judgement required for author queries (when, what and how) and how many queries are appropriate • Can ask relevant client queries (remit, style, problems), and to judge how many, when and how to ask • Can formulate clear, concise, useful questions • Understands when to alert client to problems of content • Can raise appropriate queries and deal with redundancy, omission, errors and inconsistencies, all within the limits of schedule and budget
2.4.9 Project style sheets	• Can create a project style sheet • Is aware of what can be expected, what is usually essential, what could be included in a project style sheet
2.4.10 Managing an editorial project	• Understands the possible extent and limits of an editorial project manager’s remit • Understands scheduling and planning a project • Can adapt to changes in schedule or resources • Understands the need to work within a budget • Understands the need for good communication and briefing with all parties in a project • Can take on aspects of the editorial project manager’s role when necessary
3.1.2 Assessment of the manuscript and brief	• Has ability to assess a manuscript and agree a brief
3.1.3 Structural editing	• Understands the principles of structural editing: detailed analysis of the text, advising the author of any structural or major changes required • Can identify and analyse themes and plot types; author’s voice and style; different points of view; dialogue; consistency of plot, timeline and setting, character, language

Resources to support your learning and CPD

When it comes to fiction, developmental editing is possibly served by more resources, and you can find courses and literature to support your learning.

Sophie Playle has written a CIEP guide, Developmental Editing for Fiction, which is a good place to start.

If you work in non-fiction, the equivalent CIEP guide, written by Claire Beveridge, is Developmental Editing for Non-Fiction.

Both guides give a good list of further resources at the end, so I won’t repeat them here.

Sophie Playle offers training courses in this area for fiction editors:

Developmental Editing: Fiction Theory
Developmental Editing in Practice

She has also recorded a useful webinar: Guiding Principles for Developmental Fiction Editing.

The blog post What Is Developmental Editing? The Writer’s Guide to Developmental Editing by Alice Sudlow is aimed at authors but is also a neat summary of the process for editors.

I found an interesting summary from Scott Norton, in his book published in 2009: Developmental Editing: A Handbook for Freelancers, Authors, and Publishers, published by the University of Chicago Press. He gives a concise set of 12 ‘rules’ for developmental editors, starting with ‘be realistic’. The book is available from all the usual sources.

Of course, the CIEP online courses will help you too. You might try:

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

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Posted by Sue McLoughlin, blog assistant.

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

Talking tech: Clipboards

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In this month’s Talking tech column, Andy Coulson looks at getting the most out of your clipboards. There’s more than one, for a start, and they include several tools and functions you might not have known about.

We all use the clipboard frequently: that useful little bit of temporary storage that allows you to copy a bit of text and repeatedly paste it into a document can often simplify repetitive jobs. However, a recent job that meant adding a lot of tags to the text to tell the typesetter how to style the paragraph, like <A> to flag that the current line is an A head, really highlighted the limitations of this and got me looking at whether there might be better ways to do things.

Office clipboard

In Windows there are in fact two clipboards if you use Office, as that has its own clipboard. The Office clipboard lets you review the last 24 items stored to it. You can access this by clicking on the little arrow in a box in the Clipboard section of the Home ribbon in Word (indicated by the red arrow here).

You then have a sidebar that gives you access to up to 24 items on the clipboard. You can click on these and paste them into your document. When you get to 24 items the next item you copy goes to the top of the list and the bottom item is removed from the list. This means if you are repeatedly using items then your regularly used items can drop off the bottom of the list. Closing all Office programs will also empty the Office clipboard, so if you are doing something like tagging, it is worth keeping a Word or Excel Window open to preserve your clipboard list.

If you are using the clipboard to rearrange text, there are a couple of ways of working around this problem by bypassing the clipboard and keeping its content intact. The first of these uses the mouse. Select the text to move with the mouse by left-clicking and dragging, then move the mouse to where you want to move the text, hold the Ctrl key and right-click once where you want the text to go. Your text will pop up in the new destination. You can also drag the selected text by keeping the left button pressed while moving to the new location.

The other tool is the spike (named after the old-fashioned spike often found on editors’ desks). This allows you to collect several bits of text from the document and put them elsewhere in the document, or in a new document. Imagine you need to rearrange some paragraphs, clipping lines from two or three places to create a new paragraph. Spike will paste all the items you collect as a single block of text, so you need to think about the order you collect the text in. The first item you clip will be the first item in the pasted text and so on. So, you select the first item and press Ctrl+F3. This cuts the item to the spike, but if you want to copy, just press Ctrl+Z after: the item is still on the spike, but remains in its original place too. When you have collected all the pieces you want, place the cursor where they are going (or open a new document) and press Ctrl+Shift+F3 to paste all the items.

Windows clipboard

Windows also has a clipboard that operates in a semi-detached fashion from the Office clipboard. Historically this also had a clipboard history tool which disappeared at some point, but is now back in Windows 11. It can be enabled by going to Settings, System, Clipboard and turning ‘Clipboard history’ on at the top of the list. Ctrl+V will then bring up the Windows clipboard history.

You can paste directly from here into Word, and this material is saved even when your Office programs are closed. You will notice, if you have Office clipboard open, that the items copied from the Windows clipboard appear in the Office clipboard. This can be a bit confusing, and I’m not entirely sure about the rationale of having two clipboards – I’m assuming it is for compatibility with the Mac version of Word.

The Windows 11 clipboard history (shown here) has a couple of potentially useful tools. Firstly, you can see that there are various icons across the top. Perhaps the most relevant is the symbols one, second from the right. This is like the ‘Insert Symbol’ command, giving access to all the available symbols for the current font. The other is that you can pin items to the clipboard, by clicking on the little pin to the right of each item (24 in the list in the image is pinned). These are saved until you clear them and are saved in addition to the 24 items in the Windows clipboard, although if you paste into Word they will take up one of the 24 slots in the Office clipboard. You can use this as a way of saving regularly used items (like my tags) and bringing them back into the Office clipboard when you need them. You probably won’t be surprised to learn that there is a macro that does something similar, and I’ll touch on that below.

Useful macros

One particular macro, CopytoClipboard, was discussed on the forums here – contributed by James Baron with a bit of refinement from Paul Beverley. What this does is let you create a Word file and, with the Office clipboard sidebar open, it will populate the clipboard from the file. This is what I ended up using to tag my file. If things dropped off the bottom of the list, I could clear the clipboard and reload from the file. It meant I had a list of tags I could click on to insert, and could import with the correct formatting.

It is also worth looking at Paul’s FRedit macro (or Windows Find and Replace if there are only one or two patterns) to see if there is a pattern you can find to do the pasting or formatting for you. In my tagging example, if there had been numbered headings, you could potentially have searched for heading styles or the pattern of numbering and added the tags automatically. Even if that was only 90% correct in a long manuscript, that could still be a significant time-saving.

Clipboard extenders

Finally, there are various clipboard extender programs that add to the functionality of the clipboard. I have used ClipX in the past, but this hasn’t been updated for several years, so I wouldn’t recommend it. This allowed the clipboard to have more capacity as well as providing ‘stickies’, which were like the pinned items in the Windows 11 clipboard, but were presented in a really useful pop-up menu.

There are many others available, but going by most of the reviews, I have so far avoided trying any, as I think they may actually cause more issues than they solve. If anyone has tried any and rates them, please let me know in the comments, and we can perhaps have a round-up in a future column.

I realise I have not touched on the Mac clipboard, for which I apologise as a non-Mac user. However, the bit of reading around I have done suggests the situation on the Mac is similar. Again, if anyone would like to share their Mac experiences in the comments, we can perhaps revisit this.

To sum up, the clipboard is really several clipboards that operate in similar and overlapping ways. On Windows 11 with Office you have a number of tools for cutting, copying and pasting text that work pretty well. Things start to get a bit trickier if you have to copy and paste a larger number of items frequently – as in my tags example – where copying from another document each time is slow and creates a lot of wear and tear on your mouse hand. It is worth spending some time exploring whether there are better ways of doing this to improve your efficiency and look after your wrists.

About Andy Coulson

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

About the CIEP

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Posted by Eleanor Smith, blog assistant.

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

Definite articles: Developmental editing

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Welcome to ‘Definite articles’, our pick of recent editing-related internet content, most of which are definitely articles. This time, our theme is developmental editing.

The CIEP has recently released two guides about developmental editing: one covering fiction, the other, non-fiction. Let’s look at each type in turn.

Fiction

Sophie Playle, the author of our guide on developmental editing for fiction, recently released three connected CIEP blogs that answered key questions about the subject. The first covered giving feedback, the second was about definition and boundaries, and the third looked at process.

After these three Q&A-style blogs, how about a Q&A between three developmental editors? Sangeeta Mehta, Susan Chang and Julie Scheina’s Zoom discussion about the practicalities of the role is transcribed on Jane Friedman’s website and is well worth a read.

Over on the ACES website, Tanya Gold offers a survey of the conversations an editor needs to have with an author before tackling a developmental edit.

Finally, Susan DeFreitas sets out three critical questions an author needs to ask before drafting or revising a novel. These questions offer some valuable pointers for developmental editing, too.

Non-fiction

In her CIEP guide on developmental editing for non-fiction, Claire Beveridge recommends a detailed guide to the subject by Gary Smailes. For Editors Canada, Paul Buckingham has written a useful shorter overview of the process.

If you’re looking for a particular specialism, ACES has covered medical developmental editing; The Editing Podcast has talked to a developmental editor of academic writing; and Geoff Hart has written for An American Editor about creating effective outlines, an article that’s particularly relevant to technical text.

Book recommendations

If you’d like a longer read than a web page can offer but are unsure where to start, book reviews are a good way in. For fiction developmental editing, Tanya Gold can recommend a stack of useful books. In non-fiction, the classic work is Scott Norton’s Developmental Editing, and on the ACES website you can review what the book covers before deciding whether it’s worth investing in.

And to see developmental editing within the larger process of creating a book, as well as hearing directly from editors, What Editors Do, edited by Peter Ginna, is a great read. You can read a review of it on the Editors Canada website.

About the CIEP

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Posted by Sue McLoughlin, blog assistant.

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

A finer point: Abbreviations

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Used well, abbreviations add clarity, reducing clutter so readers can concentrate on the meaning of a text. In this article, Cathy Tingle looks at the basics of abbreviation.

An abbreviation, a shortening, can be a wonderful device that saves time, effort and space. If in the 1974 hit ‘Killer Queen’ Freddie Mercury had sung ‘Dynamite with a light amplification by stimulated emission of radiation beam’, it wouldn’t have got to number 2 in the UK pop charts. With that wording, it would struggle to reach even the end of the song in a timely fashion.

‘Laser’, the word actually used in the lyrics (thank goodness), is an acronym. But how is an acronym different from an initialism? And how does the punctuation of a contraction differ from that used with an abbreviation? (Hang on, isn’t every shortening an abbreviation?)

It’s important to understand the different types of abbreviation because it might be necessary to style them differently. In his CIEP guide to punctuation, Gerard M-F Hill usefully lists four types – the four I’ve listed below, although in a different order – under the umbrella of ‘short forms’. This is a useful term because it avoids confusing abbreviations in general with a specific type of word shortening that is also often called an abbreviation. However, Fowler’s, New Hart’s Rules and others use ‘abbreviation’ in both ways, so I’m doing the same.

Initialisms

Many people confuse acronyms with initialisms, and this might be because ‘acronym’ sounds impressively technical and is quite a fun word to say, so people feel like applying it more widely than they should. Acronym. Acronym. Nice. Anyway, what are referred to as acronyms are often initialisms: BBC, NHS, CPR, HMRC. Only the first letter of each (main) word is kept, and the result is pronounced as a series of letters.

The main style decision to make with an initialism is whether to include full points (CPR or C.P.R.?). Such points have lingered in some iterations of US style (page 236 of The Copyeditor’s Handbook by Amy Einsohn and Marilyn Schwartz is enlightening on this matter); British style goes mostly without. However, there are instances, such as a.m. and p.m., and e.g. and i.e., where points are used more widely, even in British style. If you are using points, remember two main things:

Include all of them. It’s fairly common in unedited text to see ‘e.g’ or ‘eg.’, for example.
If your initialism appears at the end of a sentence, don’t include a full stop as well, otherwise you have two points in a row. One is entirely sufficient.

Acronyms

An acronym is a narrower category. Simply, it’s an initialism that you can pronounce as a word: OPEC, UNESCO, NASA, RADA, Aids, radar. You’ll notice that in this list we have both ‘RADA’ (Royal Academy of Dramatic Art) and ‘radar’ (‘RAdio Detection And Ranging’), with their differences in capitalisation. You can tell that ‘radar’ was always meant to be a catchy acronym from its inclusion of the first two letters from the first word and ‘A’ for ‘and’ (which is not classed as a main word) in the line-up of initials. If it were a true initialism it would be ‘RDR’. In the evolution of an acronym, particularly if it’s a term rather than a name, after being all caps it can then progress to being treated as a regular proper noun with a leading cap (as with ‘Aids’). Certain acronyms, like ‘radar’, ‘laser’ and ‘scuba’, then make the final change into a common noun, fully lower case.

After an acronym has become a common noun, the spelled-out version sometimes falls away, particularly if the spelling out doesn’t tell us as much as, for example, the usual dictionary definition of the word. Cambridge Dictionaries defines ‘radar’ as ‘a system that uses radio waves to find the position of objects that cannot be seen’ which is more helpful than its original long name.

Abbreviations

I tend to imagine a snipping or chopping action with these, because you lose one end of the word, sometimes both. Some of them, like ‘co.’ for ‘company’ and ‘etc.’ for ‘etcetera’, generally attract a full point, as does ‘ed.’ for editor in many academic texts. Others, like ‘bio’ for ‘biological’ or ‘biography’, generally don’t include points in British modern styles. As familiarity with these shortened words grows – including those that mean more than one thing – the point becomes less necessary.

Examples of where the front of the word has been chopped are ‘bus’ for ‘autobus’ and ‘phone’ for ‘telephone’. In ‘flu’ for ‘influenza’, both ends have been chopped. Here, apostrophes originally indicated missing letters, but as with full points these have dropped away with time and use.

Contractions

In a contraction, the beginning and the end of the word or phrase are included. What’s missing is something in the middle. Informal words such as ‘don’t’ or ‘can’t’ are contractions, but they’re relatively straightforward. They use an apostrophe – for now, at least.

Other contractions are ‘Dr’ for ‘doctor’ and ‘St’ for ‘Saint’. In British styles these generally don’t attract a full point; they are more likely to in US styles. In words like ‘eds’ for ‘editors’ strictly a point shouldn’t appear, in British styles at least. However, New Hart’s Rules says that this can make things look inconsistent, particularly when constructions like ‘vol.’ and ‘vols’ (volume and volumes) are seen side by side, so some styles retain the point for these types of contraction.

One contraction that retains a point is usefully mentioned in New Hart’s Rules: ‘no. (= numero, Latin for number)’. A good reason for this point could be the risk of its confusion with the more common word ‘no’.

As an editorial professional you have to navigate all these types of abbreviation and their different conventions and styles, plus any exceptions and possibly the reasons for them, depending on the text you’re working on.

What else should you consider?

Bring in the reader

Now it’s time to consider your abbreviations from the point of view of the reader. Ask yourself:

How familiar will the reader be with this abbreviation? Those that have become part of the language, like ‘i.e.’, ‘e.g.’ and ‘etc.’, most adult readers will know. A British audience is likely to know NHS and BBC. Dictionaries are a good basic guide to which abbreviations are now in common usage and therefore may not need further explanation. But remember you should always cater for your least knowledgeable reader. As Einsohn and Schwartz say, ‘When in doubt, spell it out.’ The most usual way of doing this is to include the long version then the short one in brackets: ‘National Health Service (NHS)’. If there are a number of initialisms and acronyms that the reader is likely to be unfamiliar with, consider creating a list of abbreviations that they can easily refer to.

Do I need all of these abbreviations? If you’re using an uncommon abbreviation just once or twice, it’s probably better including the long version only. Also, remember that text littered with initialisms and acronyms very quickly loses the advantage that a few abbreviations bring: it becomes uninviting to look at and difficult to read. This is the advice the Economist Style Guide gives:

After the first mention, try not to repeat the abbreviation too often; so write the agency rather than the IAEA, the party rather than the KMT, to avoid spattering the page with capital letters. And prefer chief executive, boss or manager to CEO.

Is the abbreviation near to where it plays its main role in the text? It’s not worth abbreviating a term the first time it’s used if there isn’t another mention of that abbreviation for pages and pages. Wait until you get to its first real entrance, where it’s discussed at more length or in more detail, and introduce its shortened version there.

At the sharp end of language

Abbreviations are an element of language that can change quickly, so you should keep up to date with the latest stylistic conventions for each shortened word or term you’re editing. However, in the end there are only a limited number of options for an abbreviation, all of them seen and written about already. Your task is to work out which option is applicable and appropriate. Here are some useful resources to equip you for the challenge.

Economist Style Guide. 2018. 12th edition. Profile Books.

Einsohn, A. and Schwartz, M. 2019. The Copyeditor’s Handbook. 4th edition. University of California Press, chapter 9.

Fowler’s Dictionary of Modern English Usage, ed. J. Butterfield. 2015. Oxford University Press. See entries for abbreviations, acronym, contractions, full stops (2).

Hill, G. M-F. 2021. Punctuation: A guide for editors and proofreaders. CIEP, pp9–10.

McCulloch, G. 2019. Because Internet. Riverhead Books.

New Hart’s Rules. 2014. Oxford University Press, chapter 10.

About Cathy Tingle

Cathy Tingle, an Advanced Professional Member of the CIEP, is a copyeditor, proofreader, tutor and CIEP information team member.

About the CIEP

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Posted by Belinda Hodder, blog assistant.

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

Why you need to see yourself as a marketer (so that you do some marketing)

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In this post, Malini Devadas talks about why you need to see yourself as a marketer, and feel comfortable in that identity, in order to actually do any marketing. She also shares one action that you can take today to find your next client.

There’s a model in coaching that I love, which is called ‘be, do, have’. Most freelancers want to have more clients, and they know that in order to do that they need to do some marketing. So they learn all about marketing; in other words, they focus on the doing. However, we won’t do something if it is in conflict with who we see ourselves as being. If we spend our time thinking about how much we hate selling, if we feel resentful about the fact that we need to be proactive about finding clients, or if we see ourselves as someone who is hopeless at marketing, we are unlikely to take marketing action. Instead of acknowledging the root cause of the problem, we decide it’s because we don’t know the ‘right’ marketing strategy. We then spend more time reading and learning about new platforms and tactics, because that feels easy and safe compared to actually putting ourselves out there.

As a transformational coach, my job is to help editors become someone who is comfortable with marketing and who even learns to enjoy connecting with writers they’d like to work with. Yes, it is possible! Here are some steps to get started.

Be comfortable with marketing and selling

The best way we can help a writer is to edit their piece (assuming that we are a good fit for the project). So, it’s in their best interest to know about what we do and how we can help them. They may decide not to work with us, but if they don’t even know that we exist, they are being denied the opportunity to get help.

Because selling, and talking about money more generally, can feel awkward, a lot of freelancers focus on giving away free content to help writers, such as through social media posts, blogs and podcasts. This has a place; personally, I like to give away free content so that I can help those who don’t have the budget to work with me. But I also think it’s important to share the message that I can help you more if you hire me, and invite people to contact me if they want to discuss the options.

I don’t think it’s likely that you’re going to go from hating something to loving it, so I’m not suggesting that you try to convince yourself that marketing your business is your new favourite pastime. Instead, I encourage you to start by feeling neutral about it. When the topic comes up, instead of joining in the chorus of complaints about having to do marketing or how bad you are at it or criticising other service providers who sell their services, don’t say anything. This may feel uncomfortable at first, especially if you’re used to leading the chorus of complaints. But over time you will notice that you no longer have such strong negative views about marketing and selling. And that will make it easier for you to do it.

Be confident in your offer

Yes, it’s the dreaded concept of niching! Having a niche for marketing purposes does not mean that you can’t have variety in your work. But if you are connecting with writers, it is much easier for you to find the right people, and for them to have more confidence in you, if you’re clear on the problem you solve (your offer). For example, do you proofread food blogs before they are published on a website? Do you do developmental editing of romance novels for first-time authors who eventually want to self-publish? Do you copyedit PhD theses for students in the sciences at Australian universities?

Put yourself in the shoes of a writer who thinks they might need help to reach their goals. If you don’t show empathy for your clients then it will be hard to write content that will appeal to them. If you spend all your time talking about the editing process, it is hard to connect with people, because many people outside publishing don’t understand what editing actually is. Instead, you want to be talking about things that matter to the people you want to work with.

And if you’re not sure what matters to your ideal clients, find some of them and ask them!

Be open to receiving more money

It may sound ridiculous, but it can be hard for some people to receive money. Here are some signs that you might be one of these people:

You stall on sending an invoice because you feel bad, especially if the invoice is for a lot of money (even if the client is happy).
You feel guilty about how much you earn compared to other people (eg parents, other family members, people with ‘more important’ jobs).
You feel bad about being paid for work you enjoy.
You think that people who earn a lot are greedy.

There are any number of limiting beliefs out there when it comes to money, and these can have a huge impact on how we run our business. Over the years, many editors I have coached have been shocked to discover all the negative thoughts they have about money.

Next time you find yourself criticising someone about their rates or making assumptions about what a potential client is willing to pay you, stop and consider how these thoughts may be hampering your business.

One action you can take today to find your next client

The easiest way to find a client is to start with your existing network, even if it is tiny. Here’s a script that I have used (and that has worked!) when I’ve needed more clients. You can use it to email someone you know.

Dear

[Some kind of introductory remarks.]

I wanted to let you know that I have recently started an editing business. I help [type of client/publication and the problem you solve].

You can find out more at my website [insert link]. (If you don’t have a website, just include any relevant information at the end of the email.)

If you think you might need my help, I’d love to make a time to chat about it. Or, if you know someone who might benefit from my services, I’d appreciate you forwarding this email to them.

[Some kind of sign-off.]

That’s it. Don’t overcomplicate it!

If you’re struggling to send one email about your business to someone you know, this is an opportunity to look inwards and work out what the fear is that is getting in the way. Because until you uncover and deal with that, it’s going to be difficult to do the marketing that you need to do to grow your business.

This is not so much about expecting this one person to respond and offer you work. Statistically, in fact, this is unlikely to happen (this is why we need to tell lots of people about our business, to increase our chances of finding work). Instead, it is about taking responsibility for your business and telling the universe that you are ready to meet more of your ideal clients.

Going forward

Remember, so many writers need your services! But they can’t get help for their manuscript if they don’t know that you exist. Spend time building connections with your ideal clients and let them know how you can help them. Before you know it, you will be getting enquiries from people you want to work with on projects you find interesting.

About Malini Devadas

Dr Malini Devadas has been an editor since 2004 and a coach since 2018. Over the past five years, she has been helping editors learn to enjoy marketing and selling so that they can find more clients and earn more money. Malini takes on a few 1:1 coaching clients when her schedule allows. To find out more, you can email Malini (malini@mdwritingediting.com.au).

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Posted by Sue McLoughlin, blog assistant.

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

Wherever you go, there you are: Not-so-new learnings from parenting and editing

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In this post, Ayesha Chari shares her experiences on running a freelance editing business while bringing up a young child. She opens up about her struggles to juggle work and childcare, some of the ways she’s had to adapt her work routines, and the things that have helped her to get through it all.

Acknowledgement: with thanks to clients and colleagues who’ve made safe spaces for conversations over the years. This is more personal than I wanted it to be, but I hope sharing will make someone somewhere feel they’re not alone. And that we can learn from each other if we let ourselves find community, even when we least expect it possible.

My four-and-a-half-year-old is coughing away as I attempt for the umpteenth time to write a sentence beyond the blog heading (which, at the moment, reads ‘CIEP blog’, but I hope will be cleverer by the end of this, if that comes). The noise from their tiny hands rumbling a box of classic Lego pieces in search of the perfect one for the pizza-delivery truck they’re building is deafening. The TV is playing today’s game of the ICC Men’s T20 World Cup 2022, silently. The partner has taken care of breakfast, cleared up and is going out for a quick haircut before the rest of our day unravels. Another device in the house, I’m not quite sure where, is playing Bollywood songs I’m annoyingly humming in my head on and off every time I get distracted from writing the next sentence here* or trying to figure out how many more days I should wait before getting the child seen by the professionals for the cold and cough that never seem to go away fully now that they’re in school.

(*It has taken me so long to focus that now the game has changed from whacking a ball with a bat to kicking it around furiously for 90 minutes. I hope you will be reading this before the 2022 FIFA World Cup trophy is won, but don’t be surprised if it’s well into the New Year!)

Yes, school. Who’d have thunk I’d be a four-and-a-half-year-old parent and still wondering how I got to where I am, where we all are as a family?! That I’d also be decently self-employed for now nine years and finally ready to call what I do a business. It feels like it was only yesterday that I took our sleeping cuddle-bundle to their first CIEP (then SfEP) local group meeting in person. Together, we’ve since attended nearly three years of regular virtual meetings, fewer in-person ones because masked life, one in-person annual editor conference, three virtual ones, and several editing and business-related webinars. My child’s also been a massive part of everyday editing – it’s about cooperation, I’m learning – and has even got surprisingly excited through my website-building journey last year. So, what, if anything, is this really about?

The not-so-brief backdrop

The year before parenthood was my first financially productive year in five years of freelancing. (New editors: sometimes it can take a while; hang in there, it’s well worth it.) It was that which helped me decide I wanted to stay self-employed and not fill in another full-time editorial job application. Ever.

I was already an Advanced Professional Member of the now CIEP, had committed to training regularly, was relatively active in the editorial community of colleagues-slowly-becoming-friends, and had regular clients who promised to be in touch as soon as I was ready to end maternity leave.

They kept their word, and I was officially back at work as an eight-month-old parent–editor. Without family or friends nearby to help with occasional dailyness, I struggled. We struggled. My workday started, reluctantly, when my partner took over child and house after his full day at work. I’m a morning person (as is the little person, so far), and though I get by with less than average sleep in general, this shift in routine was painful. I struggled to settle into any sort of rhythm, hated working in chunks of time not in my control, felt miserable not being able to take on as much work as I wanted to. The list is long.

The silver-lined obstacle course

A few months in, when the new parenting–editing work routine was beginning to feel a little less frantic, comfortable even, my partner’s work circumstances changed and we found ourselves doing weekdays apart and weekends together as a family. My workdays became night shifts and weekends, and grocery shopping, laundry, essential and non-essential household sundries had to be reorganised. We were maze runners, again.

But there were silver linings. I’ve had the most understanding of clients, a couple of whom were in similar situations as new parents and carers, and eternally supportive colleagues at the end of a direct message or even a phone call if I dared. It felt reassuring to know we were going to help each other get through each assignment one day at a time. Courses have got done, learning has happened, calamities have been overcome and tides ridden, new clients have had work published successfully, deadlines have been met, conferences and meetings have been attended, old tricks shared and new ones picked up, illnesses have been survived, growing confidence in business acquired, and food and laughter have made it to the table among family, friends and strangers even.

The pandemic, as all of us have experienced, magnified the hurdles, with or without children in the mix, with or without much change to daily routines for those with an already functional bedroom or under-the-staircase office. At a cost both personal and professional. But the editing communities that I’ve made my home show me every day that we’re in this together.

Lessons learnt and unlearnt

Clients and deadlines – the relationship puzzle

Emergencies and planned family time both need accounting for. As editors, we all know we’re cogs in the publishing/communications landscape we work in. We take pride in meeting those deadlines, many of which every now and then are not met by others in the same chain. Quite possibly with valid reason and for causes beyond their reach. Yet, we go into a flap when one creeps up on us. The uncertainties of parenting and other caregiving responsibilities make it trickier to plan around deadlines, holidays, rest and recuperation.

For me parenthood has reinforced the importance of being transparent about what I can/can’t and will/won’t do. The boundaries I set for myself help to create realistic expectations with clients. I share as many or as few details as I want to, but if I need time off I let my clients know as early as possible – whether my child is unwell (which can happen overnight), I’m planning CPD time off or I’m unavailable at fixed times of the year. When agreeing deadlines with author-clients specially, I ask if they have other commitments – caring responsibilities, travel, work – and require buffer in the schedule. I make sure they’re comfortable sharing if the need arises and set ground rules about communicating openly and often, especially when a change that may affect the editing project is anticipated.

If the ongoing pandemic has taught us anything it is that we’re all human, that life happens, that priorities lie on an ever-changing spectrum. Extrovert or introvert, people thrive in relationships, in community. Children are brilliant examples of the natural need for human connection. My work is as much about editing as it is about communicating, clearly and well. I’m a strongly opinionated introvert who’s on a mission to learn to be unafraid of sharing, of having difficult conversations and of collaborating consciously. Build your editing business on relationships, not textbook rules.

Scheduling – flexibly firm routines

Changing, erratic routines come with the territory that is parenthood. It’s one of the first lessons in the role. Not a pleasant one if like me you thrive on being in control. Not fighting the change makes dailyness slightly less painful. Guilt – for working too much, letting your child cling to you, not working enough, letting someone else care for your child, for yelling, not being firm enough, for sleeping or even eating that last cheese slice/cookie – will come and go. That is reality too. See it for what it is and let go.

In late 2021, a 12k-words-long article that should’ve taken a few hours’ work took a very guilt-filled, tearful two weeks to edit. If I took my own medicine, the matter would’ve been easier to close the chapter on a year later. I know now it won’t be the last, only that moving on will happen with a smidgen less anger. I fought with myself to make the most of my peak productive morning hours, but ended up swinging between tears and fury by the end of daylight hours because I hadn’t edited anything, hadn’t ‘worked’. Not even when the child was asleep and I’d planned to send those emails, clean up files, sort author queries. Vicious cycle until I realised that I was still efficient, just in a different way from what I was used to. It made the editing at night so much smoother: slower but simpler. Routines as a family change with time, age and circumstances. Being flexibly firm is a middle path worth trekking. Unnatural-to-you rhythms can be your friend if you prioritise you in the equation.

Juggling tasks – caregiving versus business

I’ve worked around caring for others, older family and ill friends before. But a little human who needs 24/7 attention of some form is a different juggling act altogether. So, how do you handle the responsibilities? I’ve found (re)prioritising is a constant and perfection a myth. Doing a job well involves managing one’s own expectations and self-care too. Think about whether and how you can share tasks with a partner, with other family and friends, or pay for professional care.

Being not OK is not OK. Running a business and childcare (read: life) don’t come with manuals and are not meant to be in constant opposition. It has taken lots of trial and error for me to get comfortable with what works for us as a family and for me as a self-employed parent. If I could mass-produce sticky-notes for new parents, they’d include ‘Ask for help’, ‘Don’t apologise for having a child/being a parent/having needs’ (in check boxes), ‘Ask for help’, ‘It’s OK to be not OK, but also not’, ‘No rights and wrongs’, ‘No guilt’, ‘Go outdoors’, ‘Work or life, seek help’ (yes, again). Parenting and editing aren’t mutually exclusive: which takes priority when depends on your circumstances.

Superpowers – multitasking ninja or specialist wizard?

Parenting, editing and running a business require all the superpowers of the universe and some. No fooling anyone! Have I got said superpowers? ’Course not. Has my ability to run a business changed since parenthood? Of course it has!

I’ve got more confident in recognising that with responsibility comes power (or is it the other way round?!) – the power to choose when and how to multitask, to focus, (re)train, specialise or generalise, who to work with, what to work on and which services to offer. The power to know when to take time off, how to organise schedules, when to let the laundry pile and the dust collect or hire help with housework, when and how to turn down projects, how to delegate. Even how to put on those trainers and run round the block. (What I’ve not been able to do is figure out how on earth you listen to a podcast while ironing or cooking.) Whatever your superpower, don’t be afraid to restructure your business to suit your family’s needs.

Helpful reminders – editing and parenting

Cliché and all, but find your people. Join that professional network, care and share. Build a strong referrals list of colleagues for when your juggling is wobbling. Your clients and colleagues will be grateful. CIEP, ACES, EFA, Editors Canada, IPEd, MET, Sense, ICF, PEG South Africa are all welcoming communities meeting different needs. Find a good fit for you and your business.
Plan for eventualities, money and time-wise. Broken bones, illness (sudden or otherwise), school and non-school events, loss and grief, special-O days (birthdays, first-time days). The inventory is endless. Prioritise, compromise, get help, slow down to snail’s pace.
Practise efficient editing. Leave buffer time for all projects as default, then add some more. Have healthy money chats. Use tools and tech to make life easier but don’t hesitate to unplug whenever you need. Make time for yourself mindfully, even if five minutes (mine is when I brush my teeth).
Make practical changes. Adjust your work space to make it child-friendly. (You will have to share the colourful pens and good stationery sooner than you realise!) Set reminders around your child’s activities and school routines. Use a simple planner to accommodate work and family. Involve your child in your work like they involve you in their play. (Mine is an expert scanner and knows when to flip document sides in the machine.)
Find other parents – they need you as much as you need them. Look online but also ask about events in public spaces like libraries, community centres, activity clubs, neighbourhood facilities. Ask your healthcare providers for local networks. Ask parent-friends and parent-colleagues.

For more practical tips, check out coach and fellow-editor Laura Poole’s Juggling on a High Wire: The Art of Work–Life Balance When You’re Self-Employed. It is an excellent, essential read for all who work freelance, with a separate section on ‘Caring for Others and Yourself’ and a chapter on ‘Working at Home When You Have Kids’.

Open forum! Share your favourites and anything that has helped you as a parent and editing business-runner.

About Ayesha Chari

Ayesha Chari is an Advanced Professional Member of the CIEP and an independent editor specialising in sensitive editing of interdisciplinary academic writing. When not helping scholars solve content and language problems, she can be found helping undo extra tight Lego bits, hiding glitter, dreading the next dress-up day in school as much as muddy puddles, excitedly jumping at every new word her nearly five-year-old reads (now often in Mama’s emails!), and teaching them to identify constellations in the night sky, among other things.

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Photo credits: header image by William Fortunato, parent and child at a laptop by August de Richelieu, parent reading to child by Lina Kivaka, sticky notes on a monitor by RODNAE Productions, all on Pexels.

Posted by Eleanor Smith, blog assistant.

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