Tag Archives: a week in the life

A week in the life of a journal/series editor

Margaret Hunter specialises in editing all sorts of texts for organisations and businesses. Here she gives an insight into the particular editing requirements for regular and repeated publications, such as journals and series, and shows how both editors and their clients can benefit from efficient editing practices.

Editing recurring publications: how to ensure consistency and edit quickly and efficiently

OK, so editing articles for a journal or series usually takes more than a week (usually two for mine), but here’s a snapshot of how I tackle this sort of work. I can, of course, talk only about the titles that I work on, and you may find yourself working to different requirements, but I hope I can pass on some useful general insights and tips that will help you edit recurring publications efficiently and quickly.

What do editors and proofreaders need to do when editing journals and series? Does it require a different approach from editing other types of text? With multiple authors (meaning multiple approaches to the text) how do you judge what to change and what to leave? What working practices, tools and tips help you to be efficient and accurate? How does that make you a valued editor that clients will want to use again?

In this article I’ll talk about the following:

  • Use repetition to your advantage
  • My process for editing journal articles
  • Process tips for working on journals and series
  • Should authors be made to sound the same or is it OK to keep their different writing styles?
  • Build in efficiency
  • A good mindset for working on recurring publications

Use repetition to your advantage

Working on a journal or a series, by definition, means repetition. A good place to start then is by asking yourself: I’m going to have to do this again, so what will make it easier or more efficient next time?

For me, it’s to break the job down into parts that need different attention, then use tools, checklists and separate editing passes to make sure each part meets the publication’s style, language and formatting requirements.

Crucially, each time I work on a recurring publication I add useful information to my notes and tools, such as solutions to new issues I’ve encountered, new style decisions, improvements to my process, new information from my client, or aha! moments from checking how something’s been done in previous issues.

Pile of to do lists

My process for editing journal articles

To give you an idea of what’s involved in this sort of work, here is my typical workflow for a journal issue. Because the quarterly publication schedule is fixed, and I know roughly when to expect the files, I set aside a block of two weeks in my diary in advance so that I can concentrate on the journal work. Over those two weeks, I may do small jobs for other clients too if I can fit them in or they need to be done then.

On average it takes me about 25 hours to complete the following work for each issue. As well as copyediting, I also do the layout in InDesign, so my steps may be different from yours, or your client may have other needs.

  • Check I have everything I need
  • Basic clean-up (uncontentious changes such as spaces, dashes, removing unwanted formatting and styles)
  • Format/add fixed article information
  • Consistency and style edit, using PerfectIt, macros and Find and Replace
  • Full text edit, plus markup for layout
  • Resolve queries with authors
  • Final text to layout template
  • Send layout proofs to authors for approval
  • Finalise and package all to client
  • Make any adjustments wanted by client
  • Check if I have anything new to add to my notes

What’s your process? Identify the steps you do each time and decide the best order.

Process tips for working on journals and series

Check you have everything when you first get sent the files. Don’t wait until you need an urgent response on a query to check you have the author’s email address, or realise when you’re about to hand off the files that you need a better version of a figure image because the one sent is too small to publish clearly.

Identify your fixed information – details that are always presented in a particular way. Make a checklist or set up a template so that you don’t forget to do this each time – it’s easy to get caught up in the main text and forget the extras. You may have to collate the information from different places, such as the article itself and a separate submission document.

In my journal, there’s a fixed way of presenting information such as the abstract, keywords, author details and declarations of interest, and a fixed order to other chunks of the main text. For example, keywords start lowercase and are separated by commas; full author names are required in the main text, not just initials (but initials are OK in reference lists); and figure and table captions appear above not below them. The authors invariably don’t write it that way, plus they add information that’s never included (such as their postnominals and phone numbers), which I delete.

Get clarity on author contact. My journal client wants me to resolve queries directly with the authors (other clients may want you to go through them, so ask). Usually I’ll fix as much as I can myself and ask only for answers that will enable me to make sensible suggestions where I’m stuck. The authors don’t usually see the edited Word file, though I occasionally send it if I’ve made substantial changes and want to check I’ve retained their meaning, especially if the author is not fluent in English. In most cases, I simply send authors a PDF of the layout proof for approval, with marked queries or comments if needed.

Stay organised – you’ll have your own preferred system but make sure you know which files are originals, which you’ve worked on, which are awaiting answers to queries and which have been approved and are ready to go. I have a tight timeline, so I need to juggle articles that are at different stages in the process. I file things in different folders, and I like to stamp my PDFs as ‘Draft’ and then as ‘Approved’ once I’ve got the author’s go-ahead. I have boilerplate text ready for my emails to authors.

Should authors be made to sound the same or is it OK to keep their different writing styles?

Yes and no. It depends. As, of course, for most types of editing. There’s no definite answer here because it depends on your client’s editorial policy and what type of publication it is. The client may be happy with, or positively encourage, different writing styles – even different versions of English and different punctuation within the same title. Or they may want you to edit so that the authors’ text is changed to conform to the organisation’s particular style or voice.

It’s common with the journals and series I work on to have authors from different countries. That’s interesting! But it also means I need to know how to deal with different writing styles, different conventions on presenting references (macros help!), different tones of voice. That means keeping working on building up my editorial judgement.

In my journal example, I often change quite a lot of what an author has written, but mostly to correct basic grammar and to make it comply with the client’s style requirements. I don’t query these changes with the author. Here are some examples:

  • spellings, hyphenation, punctuation and capitalisation (eg removing serial commas; lowercasing job titles)
  • style formats (eg removing superscript from ordinal numbers; changing format of references and citations)
  • how italic/bold/underline are used (eg bold not italic for emphasis).

I also edit for language choice – either specific language the client wants to use/avoid or language that I think is outdated or unwise. Examples are not describing people by their disease/condition and choosing more conscious options to replace sexist and racist wording. I will usually query such changes with the author, or at least flag them up at proof stage and explain why I’ve made the change.

Build in efficiency

If you’re working on a recurring publication, you’ll probably gain some natural speed and efficiency from familiarity – just by doing the steps time and again. But you can speed that up by building in efficiency from the start, and keeping it topped up.

Also, if you work for lots of different clients, as I do, all with different requirements for their documents, it can sometimes be hard to get back into that headspace at the start of a job. Is this the client who likes to capitalise job titles, or is that the other similar organisation …?

Here are some techniques I use to build editing efficiency and speed. That helps me because it makes my task easier and uses up less of my time. But it also makes me valuable to my clients, because they know they can rely on me to produce consistent work.

Checklists

Create and maintain checklists, for example to check you have all the required content, for the editing tasks you do each time, and for any additional process steps, such as getting author approval or compiling lists of queries and answers.

Project style sheet

Don’t rely on a client’s house style guide. Build your own project/client style sheet and keep updating it as you work. If the client’s house style is lengthy (as some are) you can pull out the main points into your style sheet as a quick reference point. If their house style is meagre or outdated (unfortunately quite common!) use your style sheet to start filling in the blanks and recording the latest decisions. I sometimes forget what decision I’ve made during a job, never mind a couple of months later when the next issue arrives, so I’m thankful when I’ve kept good records.

PerfectIt

As well as your own project style sheet, create a PerfectIt style sheet for that client/publication and run it before you do the full edit. It’s much easier than trying to remember all the specific style requirements yourself each time. You can build in their particular spellings, punctuation, capitalisation, and so on.

Separate passes

Use separate passes for different tasks. It’s usually more efficient and accurate to check some specific things separately than rely on dealing with every style and language point as you come across it in the full edit. It helps make sure that these elements in the text are consistent, because you’re dealing with them all in one go.

For example, do a pass to check that figure and table captions are not only there but are formatted in the correct way (eg sequential numbering; colon, stop or nothing before number?). Do similar passes to check other elements of your text that need consistent treatment: references and citations; fixed information such as abstract, keywords, author details; URLs and hyperlinks; abbreviations and acronyms.

What are the elements in your text that will benefit from separate checking?

A good mindset for working on recurring publications

  • Get organised – it will speed up your work and help you be consistent.
  • Be adaptable – similar clients/publications can have very different requirements.
  • Build in efficiency – with recurring publications, style sheets and checklists are not just useful, they’re essential.
  • Ask questions – it won’t just help you do the work in hand; you may be able to plug a hole in the client’s style guidance, identify an inconsistency in how things are being done (especially if you’re part of an editorial team) or help improve the workflow.

Learn more to help you work on journals and series

About Margaret Hunter

Margaret Hunter helps organisations and businesses write effective content and get it online or into print. You can find her at Daisy Editorial, in the CIEP Directory and on LinkedIn.

 

 

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: library by Patrick Robert Doyle on Unsplash, to do lists by Gerd Altmann on Pixabay.

Posted by Harriet Power, CIEP information commissioning editor.

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

A week in the life of a sustainability proofreader

Proofreader Alex Mackenzie regularly works for a sustainability company. In this post, she explains what her week looks like.

I’ll come clean from the start – I am not a sustainability expert. My qualifications are in the arts and language-learning education, but a European sustainability company has contracted me as a proofreader, giving me regular paid work – which I absolutely love!

The job popped up through an email alert from a recruitment website. They put me through their timed test, which I passed, and then trained me. The quality control team are great people and support me with speedy feedback – I’m learning a lot.

A typical Monday morning (and often Tuesday and also many a Friday) looks like this:

  • Check the promised document has arrived in my inbox at 8am.
  • No? Get on with my preferred morning routine (tea, more tea, yoga and meditation, coffee, browse CIEP forums and our accountability group posts on Slack, answer emails, highlight deadlines on my wall calendar, fiddle with the bullet journal).
  • Continue with some fiction or English language teaching (ELT) editing – or write a blog post!
  • Coffee break and the document arrives – work for three to five hours in highly focused hour-long chunks.
  • Return the improved document to the consultant, with the office copied in.
  • Complete the company’s online tracking and feedback spreadsheet, listing the language and formatting issues I attempted to solve.

On accepting a work request, I know a little about it: the number of pages, the deadline, the choice of UK, US or Australian English, whether the document needs to be transferred to a company template or not.

Expected tasks:

  • Check the document type is as described (report, video storyboard, slide deck).
  • Check against the style guide and correct template (headings, logo, images).
  • Check spelling, punctuation and grammar (capitalisation choices, CO2, tCO2e).
  • Check captions for tables, photos and figures.
  • Check digits are UK English (1,500 not 1500; 0.08% not 0,08%).
  • Suggest rewording as necessary and add any queries.
  • Make final checks (test in PDF format, update table of contents, run slideshow).
  • Double-check final checks and go through comments.

On opening the document, I know much more: the region (most often Latin America, many times Southeast Asia, occasionally Africa and Australia, recently Greenland). I also soon discover the quality of the language and any formatting issues. The best bit is when I learn about the project itself (indigenous planting techniques in post-colonial cocoa farms, sustainable forestry and community gardens, green energy in garment factories, soil and water conservation in conflict zones).

The joys:

  • Seeing a night shot of a tapir in a Colombian forest.
  • Improving the readability of a table that stretches across multiple pages, describing carbon emission reduction in industry.
  • Persuading template headers to switch from portrait to landscape – and back again.
  • Breaking the template rules (once or twice) in the name of getting that table to fit, preserving the logo’s white space.
  • Wrestling a Spanglish sentence into plain English.
  • Being a small part in persuading governments or multinationals to change direction.

The consultant and their team often work in challenging conditions, so Google Docs is their easiest method for recording shared data and collaborating with teams in the field. The company’s quality control section (with me as one of their externals) filters the flow of information for these essential projects (through keen-eyed attention to the style guides and templates). The aim is that our documents are used for lobbying governments and encouraging corporate participation in worldwide initiatives that track and reward sustainable choices towards net zero.

The challenges:

  • Machine-translated documents confound my Spanish–English skills, but I get to read some delightful Spanglish images – ‘contemplating’ the soil type? Nice, but ‘considering’ would be better.
  • Google Slides are pleasing to work with, but Google Docs are an unreliable conduit to the company templates.
  • Handling specialised terminology across Englishes and in translation.
  • Editing multi-author documents with their internal inconsistencies.
  • Finding text that has been copied and pasted but tweaked – didn’t I just correct this?

Wrapping up

It is a privilege to bookend my week with paid work that takes me across the globe to the incredibly diverse projects protecting our planet and its Indigenous peoples, waterways, flora and fauna.

About Alex Mackenzie

Alex Mackenzie is a British copyeditor and proofreader living in Asturias, Spain. She moved into editing from a 30-year career in international schools across nine countries. Alex is a published ELT author with a Master’s degree in education. Areas of specialism are ELT, education, sustainability and meditation, adding creative non-fiction and fiction. She is a Professional Member of the CIEP.

 

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: cocoa farm by David Greenwood-Haigh; notebook and pens by Amanda Randolph, both on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

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

A week in the life of a corporate editor

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

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

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

Dry but fun

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

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

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

Just do the words

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

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

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

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

‘Oh, okay. When do we start?’

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

Gulp.

Mission control

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

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

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

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

Words before politics

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

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

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

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

Reputation, reputation

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

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

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

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

and even included:

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

… but not all in one week!

Lately I’ve also:

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

Words in context

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

About Louise Marsters

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

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

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

Posted by Abi Saffrey, CIEP blog coordinator.

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

A week in the life of a typesetter

By Andrew Chapman

I’ll have to begin with a disclaimer: a lot of each ‘week in my life’ is currently spent as a (very) amateur home-based teacher of my two children, something I’m sure many CIEP members in the middle years of life can relate to; so this blog post instead reflects some of the variety of my work. ‘Typesetting in times of change’, perhaps!

A flexible approach

It was luck that brought me to my slightly unusual career, mixing editorial and writing work with the design side of publishing. Early in my career, I got a job as a staff writer on a computer magazine – remember the Amstrad PCW word processors? That technology was already obsolescent in the mid-1990s, but in a sense this helped me out: the magazine had a small team, so learning fast on the job, and being able to pick up how to use QuarkXPress, was an asset. A later stint on a weekly newspaper, again requiring a flexible approach, cemented my combination of editing and typesetting skills, which has kept me fed as a freelancer for more than 20 years now.

I’d say the two things that have changed the most in that time have been the software and the route to publication, which are inevitably intertwined. Quark is often forgotten these days, as most publishers use Adobe InDesign – though actually I still prefer Quark myself, and its current version is a worthy competitor once again. In practice I use both most days – although editing work is still done in Word.

Changing technology

The advent of self-publishing has had a major influence on the technology – all routes for print lead to a press-ready PDF, but ebooks have very different constraints and attributes. The holy grail of publishing is a system which is flexible, easy to use and accommodates these very different forms of output from a single source file. Both Quark and InDesign can produce ebooks, but I find they are not always very good – it depends on the book. And now there are various solutions in the mix which can sometimes make all this a simpler business – I’m thinking of Vellum (a Mac-only program which is very clever, but limited in its typesetting features), Pressbooks and other tools created by marketplaces such as Reedsy and Amazon. A new player in the print-and-ebook space is Hederis – too pricey for my taste, but one to watch.

The point of this trip down software’s memory lane is really that one has to keep up with these trends, and expect to use a variety of tools for the job – the varied nature of books and magazines means that no single tool cracks every nut. But the one thing that is guaranteed to have any typesetter in tears is a file in Microsoft Publisher format!

Varied work

Much of my career has been spent in magazines, but over the last few years I have shifted the balance of my business to books – sadly magazines seem to be in serious decline, apart from a niche market for attractive indie magazines, often marketed online. Inevitably shop closures during the pandemic have accelerated the decline of the newsstand, although the more serious enemy really is the vast range of free content online. Thankfully, books seem to be thriving, and in the lockdown months I’ve noticed a lot of authors seem to be finishing their books and looking for help in getting them out.

Being an editor who typesets, or a typesetter who edits – my sense of which I am varies day to day – means I can often be involved through more of a book’s production, which I find very rewarding. I find the two activities occupy very different parts of my ‘headspace’, too: for editing, I have to be working in absolute silence, but I can work on paper or a laptop if need be; whereas for typesetting, I typically have Radio 4 burbling in the background – I have two large screens in front of me, and now can’t remember how I ever managed with one.

I love the variety of projects which freelancing enables me to take on – although the scheduling can of course be a headache, especially when books get delayed or all suddenly come in at once. One recent project which I enjoyed being involved with was a lockdown cookery book by a Michelin-starred chef, whose son grew the vegetables the chef cooked with – so it was an interesting mix of father-and-son bonding and mouth-watering recipes, accompanied by amazing photos by a professional food photographer.

I’m something of a generalist by nature – hence the two sides to my career, I suppose – so I also enjoy not knowing what’s next: my most recent editing projects have been a historical novel, a thesis about forensics in detective fiction and a book about understanding canine psychology; and on the design side there have been business books, a short story collection and a trio of books by an established author dipping her toe in the world of self-publishing for the first time.

If there’s one subject area I particularly enjoy, however, it’s history – I’ve been the editor of a family and social history magazine for the last decade, and these days I typeset it too (of course, sometimes budgetary constraints lurk behind these decisions). And in December, I launched a related side project of my own – a weekly email newsletter presenting first-hand accounts from history, partly because I feel history publishing needs more ‘ordinary’ voices from the past rather than just famous names and royalty. I’m not really sure why I’ve forced more constraints on my complicated week – but I suppose if there’s one thing my erratic career has shown, it’s that I like a challenge.

Working together

Maybe being an editor/typesetter combined is ultimately my real specialism – hopefully I’ve got enough years under the belt now to have some insight into how the two work best together, and I’ll try to suppress the lingering spectre of imposter syndrome that whispers ‘jack of all trades, master of none …’ in my ear.

From a typesetter’s point of view, perhaps a few words of advice might be of help to other editors and the authors they work with:

  • Please don’t embed images in your Word document – or, at least, only do so for reference. Word has a habit of chewing up image files, and in any case, the typesetting process, regardless of the software used, needs images as separate files. (This isn’t necessarily the editor’s responsibility, of course, but they should always be high resolution, ie at least 300dpi.)
  • It’s fine – and indeed helpful – to mark up a Word file with styles, for example for body text and different levels of headings, though try to avoid vast numbers of them; and don’t assume that what falls in a certain way in the Word file will end up looking quite the same in the typeset file.
  • Don’t bother ‘laying out’ a book in Word, with running headers and footers, indents or paragraph spacing, and so on: all this will be lost or changed anyway. When a Word file is imported into InDesign, say, the distinctions between styles can be preserved as well as formatting such as bold and italics, but most other things are likely to change. Ultimately the key thing is that the file distinguishes things semantically: the content is sacred, but the form will change.

Andrew Chapman is a Professional Member of the CIEP, as well as a member of the Publishers Association, the Alliance of Independent Authors, the Society of Authors and the Independent Publishers Guild. When not joining associations, he runs Prepare to Publish with the help of some fellow freelancers. His latest side project, the Histories newsletter, can be found at www.gethistories.com

 


Photo credits: letters by Amador Loureiro; spinach by Sigmund, both on Unsplash

Posted by Abi Saffrey, CIEP blog coordinator.

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

A week in the life of a fiction editor and writer

By Rachel Rowlands

I’ve been a freelance fiction editor for about three and a half years now. I love what I do, and aside from getting to immerse myself in fiction every day, being able to be flexible is a big perk of the job. This is because I’m also a writer.

I studied English and Creative Writing at university, and I always wanted to be an author. But working in book publishing was another ambition of mine – and becoming a freelance editor was the only way I could do that, given that London living costs are ridiculous. Plus, I grew up in the north, and I’m a homebody!

Editing and writing go hand in hand for me – I can pass on knowledge I’ve gained as a writer to my clients. I’ve been able to advise my authors by drawing on my own experiences of exploring traditional publishing.

A typical week

My day-to-day tends to be similar. I’m flexible about the hours I work, but I try to stick to office hours and be done by 5 or 6pm. A typical week involves working on one or two of the following projects:

  • a manuscript assessment or beta read
  • a copy or line edit
  • a proofread.

I usually work on manuscript assessments and beta reads alongside a copy/line edit or a proofread, because I enjoy the variety, and it breaks up the day. I’ll spend the morning doing the more intensive job – say, a heavy copy/line edit or a complicated proofread – and the afternoon reading a manuscript on my Kindle and making developmental notes. I mainly work at my desk, but sometimes I move to an armchair downstairs by the window, with a view of the greenery outside.

There are other tasks involved in my work, depending on what’s going on in a given week. I don’t have a dedicated admin day, though. I’ll do these tasks as and when needed, either first thing in the morning or when I’ve wrapped up a chunk of work for the day:

  • answering emails from clients
  • responding to enquiries
  • responding to requests from publishers
  • invoicing
  • sending out contracts
  • booking in new and repeat clients
  • accounting
  • marketing (anything from writing a blog post to networking)
  • visiting Twitter (I use it to keep up with the book industry, although it’s easy to procrastinate – I use SelfControl for Mac when I need to focus).

How I fit writing into my day

I don’t have a set writing routine. Writing comes in stages. Sometimes I’m drawing a map of a fictional world, or outlining, or writing pitches to send to my agent; other times I’m knee-deep in a draft.

If I’m up early, I’ll write in bed with a cup of coffee before moving to my desk to do client work. Other days, when I really need to crack on with editorial work (and that comes first because it pays the bills), the writing will happen later in the evening.

I might email my agent with pitches or to discuss ideas. It’s great to have someone supportive on your side, and I think that’s part of what I find rewarding about being an editor.

How writing helps me be a better editor

I’ve been learning about and studying writing craft for a long time – since before I became an editor. This gave me a huge advantage when I set up as a freelancer. Things I learned at university, or by digging into books, attending writing groups, or through trial and error and critique, I can pass on to my clients to help them grow.

Being a fiction writer myself, I can spot issues in other people’s stories, such as world-building problems, exposition, hollow dialogue and characterisation issues. But my writing experience allows me to do other things more focused on the industry and cheerleading for my clients:

  • helping authors with query letters
  • advising on submitting to agents
  • explaining the pros and cons of traditional publishing versus self-publishing
  • empathising with my authors
  • discussing rejection honestly – it happens to everyone, and I often tell my clients about my own experience of racking up rejection letters
  • having frank conversations about the likelihood of being able to make money as a writer
  • pinpointing the market/target audience of a project – for example, I’ve worked on some MG (Middle Grade) projects that focused on grown-ups, which would be a hard sell.

Some might feel it’s a conflict of interest, being both a writer and an editor of fiction, but most of my authors appreciate my knowledge and that I can relate to their struggles. I’ve walked in their shoes, and they can trust me to be honest about what their work needs. I try not to impose my personal preferences, but instead frame things in a way that can help develop their own vision in line with their goals.

Professional development

I try to fit some professional development into my week, if I’m not too slammed. This can be anything from making progress on a course I’m taking, watching a webinar, to reading a reference book. This week, it was catching up on the CIEP’s conference recordings because I was too busy to participate in real-time.

I count reading books in the genres I edit as professional development, so I always fit leisure reading into my day (recently I’ve finished and loved The Southern Book Club’s Guide to Slaying Vampires by Grady Hendrix). Sometimes my leisure reading will be related to a writing project I’m working on. I’m currently reading some HP Lovecraft stories and Arthur Conan Doyle’s Eerie Tales, since I’m writing a historical/gothic fantasy.

Leisure time

When my mind’s been occupied by editing and writing all day, I need a breather! I’ll do something light-hearted, like watching an anime with my husband, or playing Animal Crossing. Working with words can be tiring, so I like to start off my downtime with something unrelated to books. Yoga helps me stretch out after a long day at a desk!

I always try to squeeze in an hour of leisure reading before bed. Even though I read all day, it’s my favourite way to unwind.

And that’s what my work week usually looks like. I take weekends off from editing, but I do some writing then, too, because I have more free time. Like other writers, it’s a balance to fit everything in, but I love what I do!

Rachel Rowlands is an editor, writer and Professional Member of the CIEP. She has a degree in English and Creative Writing and specialises in adult, YA and MG fiction, including fantasy, sci-fi, horror, romance and crime/thriller. She also edits general commercial non-fiction. You can find her at www.racheljrowlands.com or on Twitter.

 

 


Photo credits: books by Ed Robertson; writing by Green Chameleon on Unsplash

Posted by Abi Saffrey, CIEP blog coordinator.

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

A week in the life of a virtual PA

By Sherona Treen-Coward of Treen Coward Associates

I began my self-employment journey in 2014; having spent 16 years in industry, I felt it was time for a new challenge. I had worked in the legal sector and the NHS, mainly in administrative and managerial roles. I wanted to put my skills to good use, and the concept of the virtual PA was emerging. I also wanted to futureproof my work, and I felt this was a business I could build upon.

In 2017, as the team grew and our services expanded, we decided to rebrand. I now have two employees and a specialist contractor on board, as we continue to grow and evolve the business to suit the ever-changing needs of the professional service industries. As such, we can offer a variety of services, such as virtual PA, virtual administrator, note-taking for meetings, social media management, bookkeeping and call answering.

Like many self-employed individuals, I often cite the variety in my work as a huge benefit. I work with service-based professionals from a variety of industries; however, the principles of good business administration remain the same.

I work traditional office hours: Monday to Friday, 9am to 5pm. Typical daily work for me will include chasing documentation over the phone, appointment setting, diary and email management, CRM management, document formatting, invoicing, answering calls and dealing with queries, drafting content for various purposes, and audio typing. I will also note-take at board and other business meetings, and compile action lists and associated papers as well as ensuring they are circulated well in advance of the meeting.

I am also involved in a variety of projects where we agree a process, and I ensure this is adhered to as well as carrying out any tasks that may be assigned to me. I particularly enjoy project-related work, as evaluating or managing processes has always been part of my managerial administrative background.

Stay professional

Pre-pandemic I would often attend many meetings each week which involved travel. All my meetings have since moved online, and I always qualify the purpose of a meeting before agreeing to any requests. I think that has become more important than ever, as demands on our time have not necessarily decreased, but they have changed. One thing I am always conscious of is working productively and adding value rather than being busy. Like many, I am now working from home but have set up my home office to ensure I separate work from non-work. I do miss the travel associated with my work, but it is more important to be safe at this time.

Being a virtual PA and business manager is not just about getting appointments in the diary. We are often the first point of contact for many organisations and professionals, the face or voice of someone else’s business, and their professional reputation can start and end with us. Even though all our meetings have now moved online, I still observe office attire when facing clients or attending a business meeting.

When I first started out and was working from home, I had to deal with assumptions that I wasn’t doing much all day and had lots of free time, but that is not the case. Our clients work traditional office hours and we support them during that time and deadlines are there to be met. While a benefit of self-employment is managing one’s own diary, discipline is essential if you want to stay in business.

Aside from working in the business, I also set time aside to work on the business. Like every business, we need to undertake accounting and marketing activities among other things. I block time out each week to plan our social media, write blogs, and check over our accounting system. I also check in with my colleagues, our clients, and meet with my business mentor, whose support has been invaluable to me and my business.

Stay connected

Part of our marketing strategy involves networking, which I do regularly, and I am a member of a weekly networking event that now meets online. It is also part of a larger network where I can attend other meetings and catch up with other members. Networking is a really important part of my work, and one of the most enjoyable bits too. Meeting with like-minded business owners helps develop a business mindset, and it’s a great way to keep up to date with news from various industries. I always recommend networking to other business owners, regardless of their line of work: it is a great way to meet other professionals, build your professional relationships and create opportunities for potential work. I always enjoyed running the SfEP [now the CIEP] annual conference speed networking events and getting to know the members.

Similarly, I have been able to source professional suppliers based on reputation and trust by asking my network. But it’s not all work, work, work – there are social aspects to networking, which are equally important to us as human beings. When I first started, it was easy to get through almost the whole day without speaking to anyone, as I was so focused on building my business, but through networking, I realised that to build my business I needed to build relationships too.

Plan your courses

Another important part of my working life is CPD [Continuing Professional Development]. As an employee, I was required to attend training courses, and often delivered training too, but being self-employed meant I now had complete control over my CPD plan. I have taken various courses over the years, from introductory to post-grad level; they may relate specifically to my work, but also general business-ownership matters such as marketing or leadership. I am currently completing the ILM Level 5 in Leadership and Management as I want to undertake more project management and process improvement work, and this is taking up quite a bit of my working week as the course comes to an end.

Some courses have been free, others require a financial investment. I have a CPD plan that I review regularly to ensure the courses I attend add value to my work and ultimately my clients. CPD comes in many forms, such as general reading, listening to podcasts, or undertaking self-directed research. That said, I also recently attended a short online art course, which forced me to slow down and make time to observe – traits which I’m sure will benefit all aspects of my life.

Allow time for yourself

It may not seem that there’s much time left after all that, but as my grandparents often reminded me, all work and no play … As difficult as it can be, I always try to do one thing for myself each day. It can be something really small like walking the dog, a five-minute exercise while waiting for the kettle to boil, or calling a family member or friend. I try to do it before I start work so I feel energised for the day ahead; sometimes it’s not possible, and there may be days when it doesn’t happen, but it’s important to factor in some time for yourself to keep a healthy mind and body, and to maintain your relationships in and out of work.

At the end of the week, I always take a moment to look at what I have achieved and celebrate those wins! Again, they may be big or small, but ending the working week positively with a glass of something sparkly is important to me. I’m fortunate to live within reach of two cities and several beaches, and at the weekend I like to spend lots of time outdoors, walking or kayaking. The contrast to my working life really helps me to achieve some kind of work-life balance.

Sherona Treen-Coward is a Virtual PA and business manager with over 20 years’ experience working with lawyers, doctors and service-based professionals within the UK. After starting her own business in 2014, one of Sherona’s first self-employed contracts was supporting the SfEP conference director, drafting and sending correspondence on behalf of the SfEP. Five SfEP conferences later (and imposter syndrome very rarely permitting) she thought perhaps she wasn’t that bad a writer after all, and finally started writing her own stuff.


Check out the other posts in our ‘Week in the life’ series: discover what a picture researcher, senior editorial project manager and a book indexer do.


Photo credits: Desk by Nathan Riley on Unsplash; video conference by Alexandra_Koch on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

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

 

A week in the life of a book indexer

By Paula Clarke Bain

I have been an editorial freelancer for two decades, originally as a proofreader and copyeditor, and now primarily as an indexer, after training with the Society of Indexers (SI). I like being an Advanced Professional Member of both the CIEP and SI. I also love the variety of the job, but here is a glimpse into a typical working week as a book indexer.

Monday

I’m at my desk for 9.30 as I try to keep a working routine of pretty normal office hours. I worked from home already, and luckily that hasn’t had to change much this year.

Today I’m starting a new index. This job is unusual in that I also did the proofread for it, so I have had one good read over it before I start the index. If I come to an index fresh, I tend to do an initial skim-read of the book to begin understanding its content and structure.

Another different aspect is that this job is in InDesign. For a normal back-of-the-book index, I would work from a PDF of the page proofs on the left of my screen, and SKY Index software on the right. However, this publisher prefers an embedded index in InDesign. This has its own indexing facility, but I prefer to work with the Index-Manager program, which imports the InDesign text and allows you to build and edit the index properly while embedding the entries in the text.

A good start is made, considering that the first day is always slowest. To index, I start at page 1, line 1, and read and input entries as I go along. (Yes, we do have to read the whole book.) I consider the readers’ needs as I do this and the ‘aboutness’ of the book. What is this chapter/page/paragraph about? I add possible subheadings to large entries that will need breaking down further. The software sorts all this into alphabetical order as I input. I do not add page numbers for an embedded index, as these are automatically generated by anchoring entries at the correct point in the text.

In the afternoon, I hear back from another indexing job. The typesetter had a few minor queries for the author, which they check with me. I soon resolve these and that index goes to print. I am often commissioned by authors and I think this can work better than the traditional publishing scenario where indexer and author have no contact.

I down tools at a reasonable hour and assess how much I’ve done so far, and how long it might take to finish. This book is a history of liberal thought. I’ve input entries for the introduction and first two chapters today and I’m only up to the end of the English Civil War. It’s going to be a long week.

Tuesday

An early start for a full day of inputting entries. I want to get another four chapters done today so I need to focus.

I make sure to take regular breaks. I use an online Pomodoro timer, so focus for 25 minutes, take a five-minute break, and repeat, with a longer break every two hours. In my breaks, I might go on Twitter, which is my preferred social network. There are many indexers, editors, authors and publishers on there, and I have sometimes got indexing work directly through Twitter contacts. I’ll either peruse some tweets or look at the CIEP or SI forums for some freelance chat.

I receive an email offer of a future indexing job, but it’s for a busy time and it pays a poor rate, so I don’t pursue this further. I stay on some of these freelance lists as a cushion if nothing else turns up, but something invariably does.

It’s a day of revolutions in the reading: Glorious, American and French. Lots of names for sorting out, and a couple of love stories too: between Benjamin Constant and Madame de Staël (quite an eye-opener), and between John Stuart Mill and Harriet Taylor. Some of these entries will need to be like mini-biographies in themselves, covering early life, relationships, theories, works, etc. I’ll reconsider these at editing stage.

I’ve done the four chapters as planned and I’m on track. Hoping for similar tomorrow.

Using Index-Manager

Wednesday

Onwards with more of the same. Having already proofread the book, I know that there is some difficult material coming up, though, including world wars and the Holocaust. It’s all written well, and so important to include, but the content is obviously horrific. I index this as professionally as I can, but I’m relieved to finish those chapters. I take a good break after this and head out for a walk.

On return, I am offered a job by a regular client to update a previous index I did for them. The author has written some additional chapters, so I will need to proofread this material, index the extra chapters and incorporate the new entries into the index (much easier with proper indexing software). I’m happy to do this, the publisher is pleased (as it’s less time and less money than a full index), and I agree to take it on.

The afternoon indexing is an easier session – on post-war rebuilding, including the theories of Hayek and Keynes; quite a lot on national identity, particularly seen through Isaiah Berlin and George Orwell; the Cold War, Thatcher and Reagan; and general post-war economics, up to the 2007/08 financial crisis. It’s a wide-ranging book, this.

Another four complete chapters done today: good. Ten down, four to go.

Thursday

I aim to reach the end of the inputting today and make a start on the editing. During the day, my reading covers, among other things, identity politics, cancel culture, migrant boats, Brexit and Trump. Quite a combination.

I do finish inputting early in the afternoon. The last indexable page occurs earlier than the last proofreadable page, as we don’t generally index the acknowledgements or references/bibliography sections, and endnotes are only indexed if they contain significant information.

And so the editing stage begins. I generate the index in a copy of the InDesign file and put it into the desired format (usually two columns in a smaller font than the main text). I can then see how long the ‘raw’ index is, and how much editing I have to do. The unedited index is 40 pages, and the publisher wants it to be 20 pages maximum. This should be fine. I go back into Index-Manager, as its editing facilities are superior.

I pick out some easy edits today – mainly removing unnecessary subheadings where the main entry only has about six page numbers. This starts saving a lot of space, as an entry with subentries over several lines can be quickly made into a main entry of one or two lines.

As I’m where I wanted to be, I decide to clock off and tackle the editing with fresh eyes and a rebooted brain in the morning.

Friday

Up with the lark and raring to go. The editing stage is when the index properly takes shape and where a lot of the thinking work is done. On this pass, I start from the ‘A’ section and look at each entry, considering whether it should stay in (if not, out it goes, or it’s marked as a potential deletion) and if it is correct or needs some work.

I made some notes to self while inputting – marking with tags such as ‘??’ when there’s something to look at again. At the end, I search for these to make sure I have resolved them all.

I see some unusual entries, which I try to retain, as it makes for a more interesting index. Here are entries such as ‘sans-culottes’ and ‘shit lists’. The former will stay. The latter could come out, but as this author is renowned for their colourful language, I feel it’s fair game. I’m also keeping ‘Cecil the lion’, because he’s worth it.

An entry with many subheadings will take the longest time to sort. Are all the subheadings needed? Can some be combined with others? The main characters in the book are in this category. The same goes for concepts (eg doubt, freedom, identity, liberty, truth, will) and ‘-isms’ – communism, fascism, individualism, nationalism, socialism, etc. This is the bulk of what the book is ‘about’, so it’s important that these work.

I often leave the ‘metatopic’ entry – the subject of the whole book – till the end. Some say that this should not have an entry at all, as everything relates to it, but I do tend to include one as a basic overview. The metatopic here is ‘liberalism’, so I deal with this entry last.

After working through the entries from A to Z, I regenerate the index in InDesign to check for length. It’s 18 pages, so I’m happy with that. I now print out the index for a final proofread (using proper proofreading marks). I spot different things on hard copy, and it gives me a better feel of the reader experience of the index.

I make any tweaks and generate the final index. One last check and I submit the whole proofread and indexed InDesign file to the publisher, with index entries embedded in the text and a generated index list at the end.

Then I await index approval before submitting my invoice. An author may request minor changes, which the indexer should amend, as they understand the index structure and how other entries might be affected. In this case, I’m glad to hear that author and publisher are happy with the index, and off the book goes to press.

So, there is a fairly typical week in the life of this book indexer. I love my job and I feel lucky that I can disappear into a good book every working day. I have seen the joy of indexing being compared to a word game or jigsaw. It is most satisfying to figure out the best index solution for each book. Next week will be a different puzzle again.

Paula Clarke Bain is an Advanced Professional Member of the Society of Indexers and the Chartered Institute of Editing and Proofreading. She tweets as @PC_Bain and her website (with comedy book indexes blog) is www.baindex.org. Find the Society of Indexers on Twitter @indexers and www.indexers.org.uk.

 


Photo credit: calendar – Emma Matthews Digital Content Production 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.

A week in the life of a senior editorial manager

By Wendy Shakespeare

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

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

Editorial standards

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

Editorial processes

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

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

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

One week

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

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

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

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

 


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


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

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