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Working together

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One of the CIEP’s greatest strengths is its collegiality and mutual support. This extends to our members helping each other to find and succeed in work. Here are six ways we do this.

  1. Advising and encouraging
  2. Sharing information
  3. Supporting each other’s work
  4. Sharing opportunities
  5. Employing each other
  6. Working collectively

1. Advising and encouraging

The CIEP’s online member forums include a Newbie forum, where less experienced members can introduce themselves and ask questions about any aspect of being an editorial professional. These first questions often concern the best way to go about finding work. More experienced members respond with advice, encouragement and tips. These responses tend to reflect the same key themes:

  • Get trained, so you have the knowledge and confidence to offer your services.
  • Join a CIEP local group – in-person or online.
  • Check out CIEP resources, including our fact sheets and guides. These are free to members.
  • Think about how you will market yourself, including identifying the area of editing you will concentrate on. This might reflect your existing expertise (a field you’ve worked in, perhaps) or even your personal interests (for example a hobby like gardening or cookery).
  • Don’t limit yourself, either. If you have trained in proofreading, consider adding copyediting to your training plan. This is because sometimes a client will ask you to ‘proofread’ a document which also needs elements of copyediting to get it ready for publication.
  • Tell everyone you know that you are setting yourself up as an editorial professional. This may get you your first clients.
  • Use the ‘search’ function to find similar threads in our forums – there is already lots of advice there. There’s also a pinned post near the top of the Newbie forum, ‘Newbie FAQs and Collated Wisdom from CIEP Members’, that includes invaluable tips and suggests some great resources for when you’re starting out as an editor or proofreader.

2. Sharing information

Within the CIEP member forums, information is shared about all sorts of editing- and proofreading-related subjects, from tax rules and software glitches to the use of commas. But CIEP members who aren’t registered for our forums can also benefit from the wisdom and experience of other members. Most of our fact sheets and all of our guides are written by CIEP members. The information in these resources aims to equip our members for work, from setting up a freelance business and getting your first clients to editing in specialist areas like scientific articles, cookery books and legal publishing.

Many of the topics covered in our bank of resources are explored at a deeper level in our range of training courses which, again, are designed and delivered by CIEP members.

And there’s more information in our vast collection of blogs which are overwhelmingly written by CIEP members. Our blogs cover almost every editing-related subject, many of which are related to gaining work. Use the ‘search’ function to see what you can find. The Flying Solo series, written by Sue Littleford, author of the Going Solo guide, is particularly useful if you’re just starting out.

3. Supporting each other’s work

Suzanne Arnold and Nadine Catto met through the CIEP London group during lockdown and realised that they lived round the corner from each other. Nadine says: ‘We started meeting up with a few other editors and have all become great friends. As Suzanne and I live very near, we often go for walks together. We have collaborated on a few work projects as well.’ Friendship and work combine, as Suzanne describes: ‘It is a regular (and very valuable) sounding-board thing and sometimes even a bit of informal accountability. But it’s not structured or planned – it’s two friends bouncing ideas around and sharing links to online resources etc and the “agenda” is very driven by what’s going on in our lives on any particular day.’ The connections created by their local group help them both. Suzanne says: ‘There’s a lot of informal help behind the scenes – on a more mundane level, too, such as messaging saying “does this sentence look right to you?” And that often involves the wider group of CIEP friends who live locally.’ Sometimes this informal help extends to pet-sitting: Suzanne feeds Nadine’s cat when she’s on holiday.

In contrast to this more informal growth of connections within a larger formal group, some CIEP members decide to set up their own small accountability groups. In a CIEP blog, ‘Accountability groups: What? Where? Why?’, Eleanor Abraham says: ‘It’s good to have other perspectives, but sometimes you don’t want 150 slightly different opinions, but rather the chance to talk things through with people you trust and respect.’ Eleanor’s group has an hour-long meeting each month, which suits the busy lives of its members; Erin Brenner’s accountability group has a monthly goals check-in and in-person and online retreats. Erin writes: ‘We’ll refer each other for work and collaborate on projects. Some of us have even partnered for new business ventures, and we regularly discuss opportunities to do so.’

Two women working on a laptop together

4. Sharing opportunities

From recommending other people for work to advertising jobs they can’t themselves take, CIEP members often share work opportunities with each other. This happens on our member forums: on the Marketplace forum and local group forums in particular.

As Erin’s accountability group does, many members also recommend colleagues who possess the skills a client will need. Most people who have been editing or proofreading for a while have had the experience of being asked to suggest someone else if they’re too busy to take a job. Directories can help here. The CIEP has a directory of Professional and Advanced Professional Members, but some of our local groups also have their own directories of CIEP members which list their experience and specialisms. It also helps to pre-empt clients’ requests for recommendations to develop our own list of editors we would happily recommend if we can’t do a job.

5. Employing each other

A step beyond recommending our colleagues is employing them to do something for us. In ‘Reflections on the self-publishing process’, Kia Thomas describes commissioning two other CIEP members to help her publish her own novel, and they in turn report on the experience. The project went so well that Kia is planning to use the same team for her second novel.

Kia went about finding Judith Leask, her editor, ‘not just a good editor, but the right one for me’, by ‘asking CIEP members who were looking for more experience in fiction to put themselves forward for the job’. It can be a great approach to work with other editors who are at this stage of their career – for you as a ‘client’ and for the person you’ve asked to do the job. Judith says: ‘Being chosen by Kia to edit her novel was very exciting, because I knew I’d learn a huge amount from her, and that turned out to be true.’

The CIEP has a system for encouraging its members to work with other members who are keen to gain more experience: IM Available. This is a list, refreshed every fortnight, that includes any Intermediate CIEP members who are available for work, with details of their training, skills and experience, so that other CIEP members can employ them – to edit or proofread their own writing or to help with a surplus of client work.

6. Working collectively

Another way to deal with work that is too much for one editor or proofreader is to work in a partnership or a larger collective.

One such collective is Editing Globally, which, through six editorial professionals, spans the globe’s time zones but also the full range of tasks related to getting a publication produced: manuscript evaluations, project management, translation, developmental editing, line editing, fact-checking, copyediting and proofreading, formatting and design. This 24/7, end-to-end service can make it easier for a client to hit a tight deadline. Janet MacMillan, one of the editors in Editing Globally, is a fan of team working:

Editorial teams come in all sorts of shapes and sizes, from a team like Global Editing to informal, ad hoc, two-person teams who work together to complete a job over a timescale that would be impossible for one person. I value being able to work with trusted colleagues, whose expertise and knowledge I learn from, and I believe that learning makes me the editor that I am. No matter the size or shape of the team, being able to work with others expands an editor’s knowledge and skills.

Make the most of the editorial community

Freelance editing and proofreading can be lonely work. It pays off – sometimes literally – to reach out to your professional community. If you want some more ideas about how to do this, download our fact sheet ‘Making the most of the editorial community’, which is free for CIEP members.

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: hands together by Hannah Busing on Unsplash; two women working together by CoWomen on Pexels.

Posted by Sue McLoughlin, blog assistant.

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

Forum matters: Finding work

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This feature comes from the band of CIEP members who volunteer as forum moderators. You will only be able to access links to the posts if you’re a forum user and logged in. Find out how to register.

The topic of finding work is one that arises frequently wherever editorial professionals chat, and CIEP forums are no exception. Whether they are new to the field or are more experienced and seeking fresh opportunities, forum members often turn to other members for suggestions. And with most members needing to seek more work at some stage, everyone is usually willing to share advice and information.

Gaining experience

A recent discussion on how long it takes full-time freelance editors and proofreaders to get regular work covered lots of bases. The consensus seemed to be that building a freelance business takes time, and that it took several years for most to establish themselves in terms of a steady stream of work and adequate income.

Contributors to that discussion and others shared their experiences of how valuable word of mouth, cold calling, finding a niche, directory entries and having a website were. One mentioned the importance of local networking events, and there’s lots of information about networking within the CIEP on the CIEP website.

How someone goes about finding work may vary depending on their niche(s), but one discussion on finding academic editing work reinforced the importance of word of mouth and networking. The topic of packagers/agencies also came up in this discussion and in a more recent Newbie query, and while some editorial professionals find the rates low and turnaround times tight, they acknowledge that such work provides the opportunity to gain experience, which then attracts other clients. Several members suggested contacting faculty members and university departments who may have their own proofreading and editing needs and who may also be involved in publishing academic journals. University presses also got a mention.

Jobs in the marketplace

Members can find work in the Marketplace forum when other members post information about one-off jobs they have been offered but cannot take on. The time it takes ‘[CLOSED]’ to appear at the front of such posts is a measure of how quickly the work is taken up, so it’s a good place to check regularly in case something in your niche becomes available – before it becomes unavailable!

Members posting jobs usually take a few names of people who contact them directly and mark the post ‘[CLOSED]’ when they have enough responses. They will ask for some information – perhaps website/profile details and anything about your experience that may be relevant to the specific job. If you are the person posting the work, it’s helpful to read the pinned How to avoid post removal and Marketplace guidelines topics first.

Woman using laptop and smiling while drinking from a mug

Tests and testimonials

Sometimes members post about editing tests they have taken, or sample edits they have been asked to do. It’s worth noting that while a ‘poor’ performance in a test or sample edit may knock the confidence of a newbie, even experienced editors and proofreaders have ‘failed’ such editorial tests, and one discussion showed that while tests may match you with a potential client, one bad experience does not mean you’re a bad editor.

Keeping an up-to-date portfolio and collecting testimonials are other ways to set yourself up for finding work. In one discussion, the topic of better ways to organise a portfolio and the value of having a portfolio came up. In a discussion in the Fiction forum (which you will need to subscribe to), the value of testimonials and how they might be organised generated interesting responses.

CIEP guides and courses

Many forum members find CIEP resources helpful – directly or indirectly – in guiding them as they seek work, and some of these get a mention in the forums. One that newcomers to freelance life may find helpful is Sue Littleford’s Going Solo Toolkit and the CIEP guide Going Solo: Creating your freelance editorial business. Many other CIEP guides are useful in helping an editorial professional learn more about finding work, including Marketing Yourself: Strategies to promote your editorial business by Sara Hulse. You can find an overview of the CIEP guides here.

Finally, there’s training. Many new editors and proofreaders posting for the first time in the Newbies forum will be undertaking courses, but many experienced professionals also see courses as a vital part of their continuing professional development, making them more attractive to regular and new clients.

For up-to-date discussion about this and more, you won’t go far wrong when you network on the CIEP forums!

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: open laptop by Glenn Carstens-Peters on Unsplash; smiling woman on laptop by Vlada Karpovich on Pexels.

Posted by Sue McLoughlin, blog assistant.

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

Bridging the gap: Translation editing of Chinese texts published in English

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In this post, Magda Wojcik considers some of the challenges in editing text that has been translated from Chinese to English.

Translation editing has a dual function when preparing a text for publishing. It performs the function of conventional copyediting, to ensure the text is clear, consistent and correct. It also provides harmony between the message, style and tone of the translated and original versions of the text.

Achieving such unity between two languages from the same language group spoken on the same continent may be easier. However, translation editing becomes more complex when the original (source) and the target (translated) languages differ profoundly in how they express, for example:

  • grammatical gender systems
  • time dependence
  • directionality
  • physical attributes such as colours.

This blog post explores the process of translation editing a text written in putonghua, which is the standard modern Chinese of the People’s Republic of China (PRC), for publication in English. Putonghua is one of the localisations of Mandarin Chinese, alongside those spoken in Taiwan and Singapore. In this post, the term ‘Chinese’ is used to refer to putonghua. Regarding English, for the sake of simplicity, this post does not delve too much into its complexities and variations.

Chinese vs English: How do they differ?

In (a very simplified) summary, Chinese expresses spatial and physical attributes and time dependence (including tenses, grammatical gender systems and numbers) differently from Indo-European languages (of which English is one). And unlike a Latin-based alphabet, Chinese uses a logographic writing system. In other words, each character represents a specific word or concept that can function as a standalone word or component of a word.

So what does that mean in practice? Let’s have a look at some simple examples.

Directionality and time

In Chinese, time progresses vertically rather than horizontally. So instead of thinking about the past as being ‘behind’ us, it is ‘above’ us; instead of thinking about the future as being ‘in front’ of us, it is ‘below’ us. For example, the character xia conveys not only ‘down’ or ‘below’ but also ‘next’. Likewise, shang denotes ‘up’, ‘above’, and ‘previous’. This distinctive understanding of time in the Chinese language, and its connection to spatial orientation, may present challenges in translation editing.

Colours

Some words in the Chinese language have been transforming, potentially aligning more with the Indo-European speaker’s understanding. For instance, modern Chinese distinguishes between blue (lan) and green (lü). However, a word that predates them both – qing, signifying blue-green – is also still in use. This does not mean that blue and green (as distinct colours) do not occur in Chinese-speaking contexts but may be conveyed (and perceived) differently, not necessarily as distinct shades.

Numerals

Separating every three digits with a comma or a period is common in many Indo-European languages and enhances readability and comprehension. For instance, five hundred million (500,000,000) separates three clusters of three-digit groups. In contrast, Chinese divides numbers into groups of four. The character wan represents the value of ten thousand, and yi means a hundred million. So five hundred million is expressed by placing the number five (wu) in front of the hundred million (wu yi). While China uses the international numeric system with three-digit groupings and Arabic numerals, wan and yi remain prevalent and may influence how Chinese speakers convey numerical values.

A teacher stands in front of a blackboard in a Chinese school

What about translation editing?

These simple examples may demonstrate that language and how we think about and perceive the world may be intricately intertwined and mutually influence each other. Aside from communication, people use language to think. How the language is structured, with its syntax and specific logical rules, may affect how speakers of different languages perceive the world and convey their thoughts (Casasanto 2008). And this is when translation editing and its components of transcreation and language localisation come into play.

Localisation ensures that the target audience will understand the text’s terminology, cultural references and style carried over from the original text. Transcreation complements localisation and ensures that the translated text accurately conveys the message and tone of the source text.

These processes are critical in translation editing text from one distinct language to another. However, considering them is essential even for texts published in the same language spoken in different locations. For instance, Spanish speakers from Colombia and Spain may not resonate with the same references to a brand of sweets or a national newspaper in a text because these references are absent from their corresponding socio-cultural contexts. And so many other idiosyncrasies relevant to location and culture may need to be adapted in the localisation process to resonate with the target audience successfully.

Localisation: What to do with Chinese idioms in English?

An example of such idiosyncrasy is Chinese four-character idiomatic expressions (chengyu). These are the dominant form of Chinese idioms, comprising nearly 90% of those used today in speech and writing (Xu 2006). They reflect complex meanings drawn from literature and culture using four characters (or four syllables), which may take a paragraph to explain in English.

An example of such chengyu is ‘drawing legs on a snake’ (hua she tian zu; lit. ‘draw snake, add feet’). It signifies adding unnecessary or excessive elements to an already complete or perfect thing. When translated word for word, it may appear entirely obscure to a speaker unfamiliar with the context of Chinese philosophy and literature.

Hua she tian zu derives from one of the Zhuangzi stories, a collection of Daoist essays dating back to the fourth century BC. It describes a talented painter participating in a painting competition.

In the story, the first competitor to complete a snake drawing was to be the winner. The painter who finished first decided to add legs to his snake in an attempt to showcase his skills, technically making it into a lizard instead. Thus, he did not win because by making the addition, he missed the brief.

In this case, the translation editor could ensure effective localisation and transcreation by referring to an equivalent British English idiom familiar to the audience. For instance, it could be ‘gilding the lily’, which originates from Shakespeare’s play King John. Alternatively, the translation editor could ensure the text describes the concept to the reader on a more abstract level without referring to the snake, legs and painter.

Conclusion

Translation editing plays a vital role in bridging the gap between Chinese texts and their English translations. The complexities arising from differences in grammar, expressions and cultural nuances require careful consideration during the editing process. By understanding the intricacies of both languages and cultures, translation editors can bring Chinese texts to life in English while preserving their intrinsic meaning and engaging English-speaking readers.

The unique features of the Chinese language, such as spatial and temporal orientation, a logographic writing system, and numerical representation, pose specific challenges in translation editing. Language and thought are intricately intertwined, influencing how we perceive the world and convey our thoughts. Therefore, localisation and transcreation are essential components to ensure that the translated text accurately conveys the message and tone of the source text while catering to the target audience’s understanding and cultural context.

In this journey of translation editing, it is crucial to balance staying true to the original text with making it accessible to the target audience. And as we navigate the complexities, we must remember not to draw legs on a snake.

References

Xu, SH (2006). Proximity and complementation: Studies of the formation mechanism of idioms from cognitive point of view (II). Jinan daxue huawen xueyuan xuebao [Journal of College of Chinese Language and Culture of Jinan University], (3): 33–41.

Casasanto, D (2008). Space for thinking. In P Calvo and P Gomila (eds), Handbook of cognitive science: An embodied approach. Amsterdam: Elsevier, 641–52.

About Magda Wojcik

Magda Wojcik is an Intermediate Member of the CIEP who primarily works with non-fiction and academic authors. She is also a translation editor preparing texts translated from Chinese for publication in English. Before becoming an editor, Magda completed a PhD in Chinese literary history at SOAS, University of London.

 

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: Chinese lanterns by Henry & Co; teacher in Chinese school by Yu Wei; both on Unsplash.

Posted by Sue McLoughlin, blog assistant.

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

Curriculum focus: The publishing process

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In this regular feature for The Edit, former training director Jane Moody highlights an area of the CIEP’s Curriculum for professional development. This month’s article is packed with useful information to expand your knowledge of the publishing process, from digital to bookbinding!

Publishing is covered in several areas of the curriculum. I haven’t included editorial processes in the list below, but rather concentrated on those aspects of publishing that are not covered by our core skills. These areas are valuable for a competent copyeditor or proofreader to know about. Most topics fall into Domain 2 Editorial knowledge and practice, but I have included one from Domain 1 Working as a professional.

KNOWLEDGE CRITERIAEDITORIAL COMPETENCIES, PROFESSIONAL SKILLS AND ATTITUDES
1.1.1 Role and responsibilities of an editor/proofreader within a publishing team• Understands publishing schedules and budgets, and how they interact
• Is aware of the responsibilities of an editor to stakeholders and of the editor as an intermediary
• Understands the place of an editor/proofreader in the publishing process
• Is aware of own role within the team and able to work as part of a team
2.1.1 Workflows• Understands the critical stages involved in any publishing process
• Understands common publishing terminology
2.1.2 Schedules and budgeting• Understands the importance of scheduling and budgeting within any publishing process
• Understands the influence of the schedule/budget on the scope of editing/proofreading
2.1.4 Production processes• Understands the roles and responsibilities of a production team
• Understands the meaning and use of common production terminology
• Understands the stages of the production process (eg prepress, print/electronic production)
2.1.5 Design, typography and typesetting• Understands the meaning and application of common typographical terminology
• Is aware of different fonts, typefaces and their uses
• Recognises typographical characteristics: measures, alignment, spacing
• Understands word and character spacing, leading, indentation, non-breaking spaces, hyphens
• Understands layout, typesetting and working with a typesetter (specification, layout, revises, running sheets)
2.1.6 Printing and finishing• Understands the requirements for different printing processes (colour, paper types, sizes, file sizes, resolution)
• Is aware of different printing processes (eg litho, offset, digital, print-on-demand)
• Is aware of different print finishes (eg sealer, varnishes, laminates)
• Is aware of different binding methods (saddle-stitched, perfect binding, sewn, case binding, self-cover)
2.1.7 eBook formats• Is aware of different ebook formats (eg EPUB, Amazon AZW, PDF, TXT, MOBI
• Has a basic understanding of which format to choose in different situations
2.1.11 Different models of publishing• Is aware of the different types of publishing models (eg traditional publishing, businesses and other clients, self-publishing)
• Understands the different financial models of publishing (eg traditional publisher pays, author pays, open access, hybrid models, self-publishing)

Terminology

Before you can understand the processes, perhaps you might need some explanation of the many jargon terms used in the business. You can, of course, use the CIEP Glossary. Other terms might be found in HarperCollins’ Glossary of Book Publishing Terms. For a lighter look at publishing terms, try Tom’s Glossary of Publishing Terms (in which the term copyediting is defined as ‘A phase of publishing that requires little or no budget, is considered of slight importance, and may be omitted at the option of the publisher’, copyright as ‘A concept invented by lawyers as a hedge against unemployment’, and chapter-by-chapter breakdown as ‘the progressive deterioration of a copyeditor who is on a tight deadline’!)

Some slightly more technical terms can be found in Desktop Publishing Terminology – The Complete Guide (2022) from Kwintessential.

Process and workflow

Understanding the publishing process is essential for copyeditors and proofreaders. However, understanding is complicated because there is no one process – workflows vary from publisher to publisher and with different types of publishing. There are several CIEP courses listed in the curriculum and other helpful resources. The CIEP fact sheet The publishing workflow is a good starting point.

Courses are thin on the ground, but the Publishing Training Centre runs an e-learning module An Introduction to publishing, which is described as being for ‘newcomers to publishing who wish to gain a grounding in the structure of the publishing industry today, along with its key processes and functions’.

Books include:

  • Inside Book Publishing, 6th edn by Giles Clark and Angus Phillips (Routledge, 2019), ‘the classic introduction to the book publishing industry’.
  • Handbook for Academic Authors: How to Navigate the Publishing Process, 6th edn by Beth Luey (Cambridge University Press, 2022).

Here, I’m looking further to find information in the online environment:

  • The Publishers Association is a good source of information. Their webpage ‘How publishing works’ gives detailed information and includes personal accounts of working in the role (although when I looked, there were several broken links).
  • Publishing Talk aims to help new and emerging authors write, publish and sell books. Jon Reed has written a blog, ‘The book publishing process – an 8-step guide’.
  • Individual publishers may offer guidance to authors about their particular processes, which can also be useful to editors, particularly if they include timings. See, for example, the Bloomsbury guide to the publishing process. The timings quoted there might raise a few eyebrows! HarperCollins personalises the process, with individuals describing their roles in the company.
  • Bill Swainson has written a blog, ‘The Publishing Process’ (originally written 27 July 2012 and updated 20 January 2021), for the Bloomsbury Writers & Artists newsletter.

close-up of a printing machine

For a different kind of publishing process for non-fiction, read the IntechOpen article ‘Publishing Process Steps and Descriptions’. IntechOpen is an open-access publisher. This model of publishing charges a fee to the author or the author’s institution (£850 per chapter) and the subsequent (online) publication is made freely available to readers.

ALLi provides information on the self-publishing process in a blog by Orna Ross, ALLi Director: ‘What Is Publishing? The Seven Processes of Book Publishing’. Also describing the self-publishing process is a guide from the Writers’ Guild, published in 2022, Self-publishing: A step-by-step guide for authors.

Other web resources include an ‘Academic Publishing Toolkit’ for potential authors from the University of Manchester Library. The University of Manchester Library has a number of helpful webpages on the publishing process. ‘The publishing process – what to expect’ includes flowcharts for each type of publication. These webpages give information about typical stages, milestones and timescales that you’re likely to encounter when publishing a journal article or a monograph. 

What all these useful articles don’t say, in their attempts to set out a clear process, is that some (sometimes all) these processes can happen in different orders, or all at once. Often, the design is adapted from a previous publication, so is already set before the editorial processes start. Sometimes publication is driven by the market, and marketing may be started before a word is written or edited. Publishers’ marketing departments are often over-enthusiastic about the speed of production of their forthcoming titles! How often have you ordered an advertised book only to be told (often several times) that the publication date has been put back?

Ebooks

Anum Hussain’s blog post ‘How to Create an Ebook From Start to Finish’ (11 August 2022) is a useful introduction, as is ‘How to Make an Ebook in 5 Steps Without Breaking a Sweat’ from Designrr.

‘Everything Self-Publishers Need to Know About Ebook Formats’ (8 November 2021) gives a run-down of the different formats available and when (and how not) to use them.

Printing and binding

You can read about the printing and binding processes, but it is hard to imagine what it’s really like without seeing it. YouTube is a happy hunting ground for videos – once you start to look, you will find many helpful videos that explain the process or just give you a feel for what it is like. Here are just a few.

If you don’t know much about the printing process, watch Gorham Print’s YouTube video, which shows the process in a small printing company. Watch the same basic process on a giant scale in a Korean company, Mega Process (or this one: Factory Monster). I can tell you from personal experience that these factories really are that noisy, even without the music! This clip is more explanatory: ‘How It’s Made Books’. I’d recommend watching them both: the Korean ones will give you a better feel for the real action, but the explanations in the latter are very helpful.

For a slightly different approach, watch Amazon Books’ ‘make on demand’ process. The sound quality is occasionally quite poor, which is a shame, but it’s worth watching to see the POD (print-on-demand) process.

Newspaper printing is quite specialised. Watch the New York Times (in 2019) or The Times (in 2022) being printed.

Offset litho printing is described in a video from Solopress and the sheetfed system in one from Sappi (this one has subtitles). Express Cards’ simple animations make the whole process a lot easier to understand.

Digital printing is explained in a video from Sappi and from Sticker Mountain (Indigo printing).

The Telegraph has a video from 2012: ‘Birth of a Book: how a hardback book is made’ – there will still be companies in existence who use the human touch, but probably not many like this one. For an even more esoteric skill set, watch ‘The Chelsea Bindery Show the Processes of Book Binding’ – once upon a time, most books were bound like this. It’s more like this now: ‘Book binding (Muller Martini Monostar)’.

About Jane Moody

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

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

 

About the CIEP

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

 

Photo credits: letterpress by Jirreaux; printing machine by Dengmert; both on Pixabay.

Posted by Sue McLoughlin, blog assistant.

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

Editing fiction: Romance

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In this post, Maya Berger looks at how fiction editors can help authors to create romantic relationships that feel true to the rest of the story.

Content warning: general mention of non-consensual relationships and dynamics in fiction (no specific examples).

Characters in a work of fiction are complex creatures. They have personalities, back stories, motivations, physical appearances, schedules and interpersonal relationships – and a line editor needs to make sure that all these details are consistent, realistic within the fictional universe and engaging for the reader throughout the story. Add a romance into the mix, and now the editor also has to consider things like characters’ attitudes towards dating, sex and gender roles in relationships; whether the character becomes unrecognisable once they’re in love; and representations of consent.

This post will look at some of the major character considerations for editors to keep in mind when line editing romance and intimacy in fiction. It offers tips on ensuring that a story’s romantic elements preserve character consistency, framing and inclusivity, and handling consent issues sensitively.

Meet the lovebirds

When we’re line editing fiction in general, we look for well-developed, consistent characters with clear motivations, relatable thoughts and actions, and realistic and satisfying character arcs. And we can apply the same criteria to romantic character arcs and intimate dynamics.

What does the story say about the characters in a couple (or throuple, or other polyamorous configuration, as the case may be)? If your author has supplied character sketches, you’ve got a head start on this; otherwise, as you edit, note details like:

  • what qualities they value in their loved ones
  • how they react to stress
  • how highly they prioritise their career
  • how they like to spend their free time

and ask yourself whether the characters show these traits in their romantic interactions.

Then, look at what the romance contributes to the reader’s engagement with the characters. Does a romantic dynamic add to character development and reveal hidden truths about a character? Does a character’s crush motivate them to perform the actions that drive the plot forward, or does a character’s behaviour within a romantic relationship reveal an ulterior motive of theirs? If the answer to all these questions is ‘no’, or if the romantic dynamics feel out of place or tacked on just to give a character something to do, query this with the author.

There are often little additions you can suggest to turn an isolated intimate moment into a scene that adds depth to the story. For example:

Before: ‘She kissed Ilana, losing herself in the sensations.’

After: ‘She kissed Ilana, losing herself in pleasurable sensations for the first time since the war began.’

Before: ‘If the heart-stoppingly beautiful barista was working today, he would finally ask them out.’

After: ‘If the heart-stoppingly beautiful barista was working today, he would finally ask them out – he was determined that his infernal stutter would not get in the way this time.’

Editing romance for character consistency

Be on the lookout for unexplained inconsistencies between how a character acts, speaks and thinks in romantic and non-romantic scenes. If you find any, ask the author about them.

Here’s an example of a query with suggestions for addressing such a character inconsistency:

Character A’s flirting is playful, but in all his interactions with his friends and siblings he is intense and pretentious, and readers may find the difference jarring. If there is something about Character B that brings out Character A’s hidden playful side, please make this clearer in the text.

I’d also suggest having Character A notice the difference in himself and react to it: is he ashamed to be letting his guard down around Character B, for example, or does it make him appreciate Character B all the more? Alternatively, you could add some light-heartedness to Character A’s other relationships or make him more intense with his lover so that he’s still recognisable in every scene.

With this query, I’ve prompted the author to consider how they intended to portray Character A in the context of their romantic and other relationships, and I’ve given them some corresponding options for improving the text.

Editing romance for consent orientation

The Pervocracy states that, ‘A consent culture is one in which the prevailing narrative of sex – in fact, of human interaction – is centred around mutual consent.’

When examining the romantic dynamics in a story, try to establish the story’s consent orientation – its underlying attitudes and assumptions about the seeking and granting of consent. For example, the author may have written dialogue with a joke about following someone home that they intended as flirty banter but that comes across like a lyric from ‘Every Breath You Take’. In a case like this, you can suggest having the character sheepishly realise what they’ve implied and apologise for being creepy, framing the character as a villain and having other characters react negatively to the joke, or replace the joke with a different funny line that doesn’t rely on making someone feel unsafe for its punchline.

The vocabulary and tone play a big part in setting a story’s consent orientation: for example, is the author trying to create an atmosphere that is inappropriately erotic when a character is showing reluctance or distress? And ask yourself which characters are portrayed sympathetically. The answers to these questions will help you determine the story’s position on consent and whether the author is being exploitative, not just in terms of the romantic elements of the story but with all the story’s interpersonal relationships.

As an editor, you may encounter scenes of non-consensual or traumatic relationships and acts, particularly in crime fiction, horror and historical fiction. Sometimes these scenes will be integral to a character’s story or establishing historical accuracy and realism, but you can always choose not to take on a project with these elements or step away from a project that you’re uneasy about.

When editing a story with non-consensual elements, I suggest advising the author to add a content-warning disclaimer in the front matter of the story to help readers know what to expect, if it’s not already clear from the cover, the blurb or the genre and marketing of the book.

Even though the inclusion of a non-consensual scenario might be necessary in a story, that doesn’t give an author carte blanche to glorify coercion or violence in an intimate relationship, and an editor can suggest rewording or reframing a character or scene to avoid glamourising these things the same way that we might for murder, fraud or any other crime. This brings us on to …

Editing romance for character framing

As well as the non-consensual dynamics mentioned above, even within the realm of consensual relationships there is potential for misogyny, jokes in poor taste, gender essentialism and other content that can alienate readers. Again, note the characters’ reactions to each other and to what is happening, as well as how the narrator treats the characters. Do the sympathetic characters’ actions and dialogue support the framing of them as swoon-worthy?

For example, if Character D describes Character C as ‘the woman of my dreams’, but this ‘dream woman’ constantly insults and belittles Character D in front of their friends, do the narration and the other characters also see Character C positively? If they do, you can raise a query with the author, along the lines of:

Character C insulted Character D in front of their friends seven times in the previous two chapters. This doesn’t seem consistent with the description of her as ‘the woman of my dreams’, with how well liked she is within their friend group, or with the narration’s framing of her as a sympathetic character.

To avoid putting off readers, consider having fewer instances of Character C insulting her partner and/or having Character C apologise and make good-faith efforts to change. Alternatively, you can reframe Character C’s actions by giving them consequences within the story, such as having Character D or their friends call out Character C and telling her that her behaviour is unacceptable.

two people with tattoos on their arms hold hands

Editing romance for inclusivity

The traditional male romantic leads in Western fiction (tall, white, non-disabled, young, cisgender men who were sexually attracted to women) and their female counterparts (cisgender, young, non-disabled, white, and seeking a monogamous romantic and sexual relationship with a man) leave a lot of readers unrepresented.

Thankfully, as many fiction genres have become more diverse, so have the romances within them. And as editors, we can encourage authors to include positive representation in their stories by moving beyond stereotypes or subverting them.

When characters with romantic storylines are from racialised or sexual-minority backgrounds, or when they are older characters or characters with impairments, illnesses or neurodivergence, challenge any negative stereotyping around things like:

  • their capacity to feel and express desire
  • their attitudes towards casual sex, having and raising children, and LGBTQIA+ relationships
  • the gender roles they occupy.

Conclusion

  • Get to know the characters with romantic storylines, and note whether they show the same traits in their romantic interactions and in the rest of the story.
  • Establish the story’s consent orientation and pay attention to how the dialogue, tone and character framing reinforce it.
  • Encourage positive representation of diverse romances and challenge negative stereotyping.

Further reading

To find out more about integrating romance into a work of fiction, check out Candida Bradford’s blog post on writing a romantic subplot, TV Tropes’ Romantic Plot Tumor page, this blog post from KJ Charles on consent in sex scenes and my blog post on how to write more diverse sexuality in fiction.

About Maya Berger

Maya Berger is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading. She specialises in editing and proofreading erotic and romantic fiction, speculative fiction, and academic texts in the humanities and social sciences, and she appeared as a guest on The Editing Podcast speaking about editing erotica. Maya also launched The Editor’s Affairs (TEA) in 2020 to help fellow freelance editors manage their business affairs. She lives and works in Toronto, Canada.

 

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: heart and books by Kaboompics, couple by a lake by Adam Kontor, couple holding hands by Marcelo Chagas, all on Pexels.

Posted by Sue McLoughlin, blog assistant.

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

Resources round-up: Self-publishing

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Welcome to this round-up of resources compiled by the CIEP. This time, we look at self-publishing and working with independent authors. We have divided our picks into:

  • websites
  • blogs
  • a book and some guides.

Websites

This is a great time to be looking into working in self-publishing and with independent authors because of the sheer number of resources in this area that have built up in the last few years. The website of the Alliance of Independent Authors (ALLi) is almost unbelievably useful. ALLi offers a regular podcast that covers a wide range of topics, and two web pages – ‘AskALLi: Self-Publishing Advice You Can Trust’ and the ALLi blog – that are a goldmine for anyone working, or hoping to work, in self-publishing. The blog is divided into 16 categories, including editorial, design and formatting, production and distribution, international insights, and writing.

Another useful website is Jane Friedman’s. Friedman commissions colleagues to write regular blogs on topics that are mostly relevant to self-publishing writers, but that editorial professionals working with these writers will want to dive into as well. These blogs are particularly strong on bigger-picture aspects of fiction like narrative arc and viewpoint, as well as the business aspects of being an independent writer, such as promotion. One particularly useful, and long, resource on this website is ‘The Comprehensive Guide to Finding, Hiring, and Working with an Editor’ by Chantel Hamilton, a non-fiction developmental editor.

Blogs

Blogs offer glimpses into different perspectives, and this is particularly true of blogs about self-publishing which aim to help different people at different stages of a complex process. Fiction editor Sophie Playle covers self-publishing from the viewpoint of writers on her own blog (‘Preparing your novel for self-publishing’) and of editors on the CIEP blog (‘Working with self-publishing authors: Expectations and implementation’). Also on the CIEP blog, Helen Jones considers the benefits of using an editor if you’re writing a business book, and Averill Buchanan writes from the perspective of a book production specialist.

On the AFEPI blog, Louise Harnby suggests 4 ways to get noticed by indie crime fiction and thriller writers if you’re an editorial professional, and Laura Bontje for the Editors Canada blog covers editing for authors on a budget, which can be a useful skill in the self-publishing world. Finally, Siobhán Prendergast at Dingle Publishing Services offers a completely different perspective – self-publishing as an act of defiance – reminding us that writers from Jane Austen to Walt Whitman self-published their work.

A book and some guides

At first glance, Richard Bradburn’s Self-Editing for Self-Publishers would seem to be doing editorial professionals out of a job, but many editors have found it useful, including Sophie Playle, who has reviewed it on her website. Playle says that Bradburn, a professional editor, ‘makes an excellent case as to why the best method for self-publishing authors would be to take their manuscript as far as they can on their own, then hire a professional’. She actively recommends the book to fiction editors ‘as it provides such an excellent overview of how a manuscript should be treated during the publication process, as well as giving the editor a wider understanding of the author’s role in shaping their work’.

What helps the writer helps the editor, which in turn helps the writer. So ALLi’s seven publishing guides for indie authors, including 150 Self-Publishing Questions Answered, based on AskALLi’s gathered advice, are also a help and resource for the editing community. Finally, Alison Shakspeare’s CIEP guide, How to Work with Self-Publishers: Editing, proofreading and other considerations, ‘for practising editors who want to develop their support of self-publishing authors, in fiction and non-fiction’ empowers editorial professionals with the skills and knowledge to guide authors to self-publishing success.

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: kindle by felipepelaquim on Unsplash, Jane Austen books by Leah Kelley on Pexels.

Posted by Belinda Hodder, blog assistant.

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

Editing fiction: Dialogue

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In the first of a series of posts on editing fiction, Katherine Kirk looks at how editors can help authors create engaging dialogue that really brings individual characters to life.

Style manuals like New Hart’s Rules and guides like The Chicago Guide to Copyediting Fiction can help editors know exactly how to punctuate an interruption or how to capitalise a stammered first name, but there’s more to great conversations than the lengths of their pauses. Sometimes we need to dig a little deeper into them, and at a line editing level, this can start to feel a bit abstract. It can be hard to explain to an author how to add more subtext to a snippet of dialogue: ‘You need to not write more things not being said’ sounds like some kind of magic trick.

This post will look at how great dialogue starts with the character, it changes depending on whom they’re talking to, and how editors can add or subtract to bring those voices out.

Start with the character

If a novel’s characters aren’t distinct enough from each other, their voices will blur into one and the reader will soon forget who’s who and why they should care.

A strong character voice comes from who that character is at their core. Their background, their beliefs and their agenda all play into how they speak. If you’re working directly with an author, you can ask them probing questions like: ‘These characters live in the US but are originally from the UK, having moved there when the children were quite young. How much of their British accent has remained a decade later?’

The answers will inform word choice and what sort of rhythm the characters use when they speak. For that reason, I usually don’t wait until the end of my main pass through a manuscript to ask the author these types of questions, but send them along as soon as possible.

If you’re not working directly with an author, then you can only work with the information they’ve given you in the manuscript itself, which is why it’s a great idea to read the whole thing first, before editing. In your style sheet, make notes not only of the concrete details like a character’s age or hair colour but also about characteristics that could inform the way they speak. If they have a pet phrase or verbal habit, see if it’s used consistently. Does their spoken voice match their inner voice? Is there a good reason for it not to?

Paying attention to these aspects of the character’s voice can help you to pick up on where characters might start sounding the same. For instance, what maybe started as a verbal habit for one character might have been applied to multiple characters, nullifying its effect. Or it may be an author habit instead. If an author is relying only on these verbal habits to distinguish characters from each other, they might be overused and feel repetitive. Authors of YA may be tempted to have their teen characters say ‘like’ in every sentence; while this might reflect how some real-life teens speak, overuse may irritate readers. Don’t be afraid to suggest removing some of them.

Pet phrases aren’t the only tool we can use to make the voices more distinct. Some other options might be:

  • talking around the issue vs getting to the point (look at sentence structure here)
  • utilising gratuitously verbose lexical terms vs using short, simple words
  • airily drifting in and out of a conversation with pauses and ellipses vs jumping in and thrashing about with dashes
  • popping in slang vs using very ‘correct’ formal language. Regional slang, age-specific slang, and industry jargon can all tell us a lot about a person, and about a person who refuses to use it.

The roles we play

I am her mother, his wife, her teacher, his naughty little secret, their ally, your worst nightmare, and that will affect how I speak to you. People who know each other well develop a kind of shorthand and can read each other’s subtext better, so characters who are close might not need to have every question answered. I often find that deleting the answer to the question (especially a yes or no) loses nothing. The reader can infer the answer from context and how the conversation proceeds, and it feels snappier and more vivid.

Here’s an example with every question answered. Note how slow it feels.

‘Where is he?’ I asked, reaching for the frozen peas.

‘He’s out back, I think.’ She turned away, as if she couldn’t bear to look at me. ‘Are you hungry?’

‘I’m not hungry. The peas are for the swelling.’ I pressed them to my throbbing cheek. ‘Did you tell him?’

‘I didn’t tell him,’ she said. ‘I knew it would make him angry.’

‘Because you know how he gets,’ I muttered.

‘Yes. I know,’ she said. ‘That’s why I didn’t tell him.’

When the characters are family, as these two might be, then much of this does not need to be said. Cutting text out can turn it into subtext, making the conversation feel less stodgy and more suspenseful. If there’s a tag along with an action beat, we can probably take the tag out too and use the action beat as attribution on its own. Where it’s clear who’s speaking, we don’t need any attribution at all. Here’s an extreme example of how it might be pared down:

‘Where is he?’ I reached for the frozen peas.

‘Out back.’ She turned away. ‘I didn’t tell him.’

‘You know how he gets.’

‘I know.’

What if they were acquaintances?

‘Where is he?’ I reached for the frozen peas.

‘He’s out back. Working in the shop, I think.’ She turned away. ‘Did he do that?’

‘You couldn’t have known.’

‘I might have. But it wasn’t me that told him.’

Here, they need to give each other a little more information, and the shared knowledge of years of history is gone. They speak in slightly more complete sentences and give each other more grace.

How the characters negotiate the control of the conversation (or turn-taking) could also show their intimacy. It might change over the course of a novel. A meet-cute might have our lovers verbally stumbling over and butting up against each other, but by the end of their love story, they’re listening to each other, reading each other’s subtext and finishing each other’s sentences. Or it could go the other way, with a couple who used to be able to read each other’s signals now finding they’re no longer fluent in their shared unspoken language, and they might misread it.

What if our two characters dislike each other, and one of them is a little tougher? Let’s have the tough lady interrupt more and use more colloquial language, and contrast it with the other by having more hedging and hesitation. We might need to add an action beat to make the character more vivid.

‘Where is he?’ I reached for the frozen peas.

She spat out an apple seed. ‘I ain’t his keeper.’

‘Did you tell him? That I–’

‘Course not.’

‘It’s just that, well, I wouldn’t blame you if you had.’

‘Well I didn’t.’

Their relationship affects the words they choose to say, the questions they dodge and the assumptions they make. Dialogue that fails to take these elements into account tends towards soulless conversation that is just furthering the plot, reacting to an event or revealing a secret.

How much can an editor change?

It tends to be easier to take things out than to add things in. Whatever we remove, the words that remain are still entirely the author’s. Luckily for us, authors tend to bloat dialogue rather than be too brief, so we usually just need to do some careful snipping. But sometimes the dialogue feels like it’s just scaffolding and it needs something more substantial.

When it comes to adding stuff in, editors are limited in what we can do. It’s not our job to write the book. But we could provide examples. My favourite trick is to mine the narrative for key phrases that ring with the character’s voice and move them into sleepy dialogue to wake it up. I might borrow a phrase from one speaker and give it to another, or flip who says what. That way I’m using the author’s own words to patch the hole rather than speaking for them. If there isn’t a handy phrase nearby, I’ll provide some examples in my best imitation of their voice and let the author choose.

If you’re asking them to add something, you must have a good reason for doing so, and be very clear in your directions. Be specific about what exactly needs to be added, why and where. Review their revisions to check they haven’t introduced errors. And remember that it’s not your book.

Summing it up

  • If you read a manuscript in full before you dive in, you can get to know the characters a little better.
  • Take note not only of what characters are but who they are, and how that affects their voice.
  • Make note of their relationships, and check if these relationships are reflected in their conversations.
  • Trim out the unnecessary padding and let the best parts of the dialogue shine without being smothered by redundant dialogue tags or awkward attempts to show dialect.
  • Be just as careful taking out as you are adding in, and don’t fix what ain’t broke. Ask more questions and respect the characters as much as you respect the author.

For more insight into making dialogue sparkle, I recommend Louise Harnby’s dialogue resources, this blog post by Emma Darwin, and Sophie Playle’s fabulous explanation of ‘As You Know, Bob’ dialogue (and how to avoid it).

About Katherine Kirk

Katherine Kirk is a fiction editor who has been described by clients as a hopeless semantic and their secret weapon. She offers line editing, copyediting and proofreading to indie authors and publishers of all fiction genres, and she particularly enjoys science fiction and fantasy.

 

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: speech bubbles by Miguel Á. Padriñán on Pexels; couple by Samson Katt on Pexels.

Posted by Sue McLoughlin, blog assistant.

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

Curriculum focus: Educational publishing

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In this regular feature for The Edit, former training director Jane Moody highlights areas of the CIEP’s Curriculum for professional development related to educational publishing.

Editors who work in educational publishing use all the same tools as every other kind of editor, so it is difficult to pick out anything specific. Often, however, the areas of scheduling and process are important to editors working in this field. Clarity is also particularly important in writing for educational purposes, so let’s look at these few aspects of the curriculum.

Knowledge criteriaEditorial competency, professional skills and attitudes
2.1.2 Schedules and budgeting• Understands the importance of scheduling and budgeting within any publishing process
• Understands the influence of the schedule/budget on the scope of editing/proofreading
2.1.3 Editorial processes• Understands the meaning and significance of common editorial terminology
• Understands the roles and responsibilities of members of an editorial team
• Understands the stages of the editorial process
2.1.4 Production processes• Understands the roles and responsibilities of a production team
• Understands the meaning and use of common production terminology
• Understands the stages of the production process (eg prepress, print/electronic production)
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

Resources to support your learning and CPD

The CIEP course Editorial Project Management would be really useful to enhance your skills. You could also try the PTC course Introduction to Digital Project Management. For clarity in writing, try the CIEP courses Getting to Grips with Grammar and Punctuation and Plain English for Editors. The CIEP guide Editing Textbooks would also be worth a read.

This book chapter would also be worth reading: Miha Kovač, Mojca K. Šebart. ‘Educational publishing: how it works: primary and secondary education publishing’ in: The Oxford Handbook of Publishing, edited by Angus Phillips and Michael Bhaskar. OUP, 2019, pp274–288.

If you work with interactive exercises, the CIEP course Editing Digital Content could prove useful.

Read Anneke Schmidt’s blog post: ‘What makes a good elearning course? elearning best practices explained’ (Skill & Care, 13 March 2023). This post could also lead you down various other useful rabbit holes.

The Society of Young Publishers has published the video ‘Introduction to Education Publishing’, which you can find on YouTube. It’s a panel discussion and gives a good overview of the education sector of the publishing industry.

This is only a snapshot – almost every other topic in domains 1 and 2 of the Curriculum for professional development are relevant to editing for educational publishing!

About Jane Moody

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

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

 

About the CIEP

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

 

Photo credits: header image by Pixabay on Pexels.

Posted by Sue McLoughlin, blog assistant.

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

Five ways to incorporate movement into your working day

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Most of us know that moving and exercising more during the day is good for our health, but struggle to get out of the chair when we’re ensconced in work. In this post, Rosie Tate suggests five ways we can move more and sit less.

There are no two ways about it: the work of an editor involves a lot of sitting down. But as much as we may love our work, a sedentary lifestyle isn’t good for our physical or mental health. Human beings evolved to move – to walk, run and rest in positions like squatting that don’t involve sitting on a chair in the exact same position for hours on end.

Numerous studies have shown that we should sit less and move more. While sitting for long periods has been linked to being overweight, type 2 diabetes and some types of cancer, this can be offset by doing more exercise. A recent study shows that one in 10 early deaths could be avoided globally if everyone did just 75 minutes of exercise per week. Not only is exercise essential for our health but it also makes us feel good. Who doesn’t feel better after a walk, a run or a workout? Movement is one of the pillars of wellbeing and happiness. In this post, I suggest five ways to move more during your working day.

1. Have a movement break every hour

It’s easy to get so absorbed in our work that we spend hours in the same sitting position – often hunched over a screen. If your work involves sitting down all day, take a movement break every hour. Walk around the block, or if timings don’t allow for this, take a few steps in your workplace. Do a few stretches, squats, push-ups, sit-ups or star jumps, dance to a favourite track or move in any other way that makes you feel good. Even just one minute of movement away from your screen every hour can make a world of difference.

2. Shift positions while working

Whether we’re working, eating, watching TV, reading or travelling, we are usually sitting down. In Western countries – unlike in some other countries that favour squatting or sitting on the floor – sitting on a chair is the default resting position. It’s worth trying to switch rest positions, as sitting in a chair for long periods of time places strain on our back and pelvis and, over time, can lead to bad posture or repetitive strain injury. Try to switch positions throughout the day. Here are some ideas to get you started:

  • Use a standing desk to alternate between sitting and standing. Standing desks don’t have to be expensive: you can improvise one (search online for ideas) or buy a standing desk converter that sits on top of your regular desk.
  • Try squatting! This improves ankle mobility and gives your back a break from sitting. Try it for a few minutes a day and then extend it to longer periods.
  • Put your laptop on a coffee table and sit on the floor.
  • While sitting in a chair, try doing some chair yoga exercises.

3. Walk and talk

Meetings can be a great opportunity to incorporate movement into your day because it’s possible to ‘walk and talk’ rather than ‘sit and talk’. Granted, some meetings may not lend themselves to walking. If we’re talking to a client and they ask us to look at a convoluted sentence on page 37, we’d rather not be strolling through a local park.

But we can look out for meetings where we don’t need to be glued to our screens and take the opportunity to step outside. If there’s an agenda for the meeting, you could have this on your phone and refer to it when needed. This is a great opportunity to get some sunshine – or if it isn’t shining, some natural light at least – which leads to better sleep, boosts vitamin D levels and regulates hormones. Jean-Jacques Rousseau wrote in his Confessions: ‘Walking has something in it which animates and heightens my ideas: I can scarcely think when I stay in one place; my body must be set a-going if my mind is to work.’ Who knows? You might find that your most productive talks happen while you’re walking.

Man walking outside on a call

4. Move more

Often, we see movement as something that must be done within a specific time frame and called ‘exercise’. We set time aside for our daily or weekly sessions and we don’t move very much the rest of the time. In reality, we don’t need a designated exercise session to move more. Movement can be incorporated into our daily activities if we look for opportunities to do so. And when we start looking, the opportunities abound. Here are some ideas.

  • Take the stairs instead of the lift or escalators.
  • Where possible, walk or cycle instead of taking public transport.
  • While watching TV, do some gentle exercises or stretches. There are plenty that you can do while still looking at the screen – a quick online search offers plenty of inspiration.
  • Try using text-to-speech software to move around or stretch while listening to text instead of sitting down to read it, such as blog posts, long emails or even perhaps the first read-through of a developmental edit.
  • Stand while on public transport instead of sitting down.

You can also use your lunch break to move more. Try eating mindfully while walking or doing an online exercise class (the Better at Home app offers hundreds of free online classes for all levels).

5. Get into and stick to good habits

The most crucial point of all when it comes to working movement into your day is to get into – and stick to – good habits. As anyone who has ever set new year’s resolutions knows, it’s all too easy to start with the best of intentions but fail to put them into practice. In his book Atomic Habits, James Clear gives lots of tips on how to make good habits stick. A couple that stuck with me after reading his book:

  • Use the ‘two-minute rule’: you can break down habits into small tasks that fit into two minutes or less. When trying to move more during the day, you could start by doing this in one of the ways listed above for just two minutes each day. Do this for one week and work your way up to longer periods from there.
  • Make the habit obvious by using cues. If you want to spend some time at a standing desk each day, make sure it is set up so that you’re more likely to use it. Set an alarm to take a movement break each hour. Leave your yoga mat out in plain sight if you’re planning a lunchtime session on your mat.

You don’t need to make drastic changes: incremental steps will do just fine. Start small and work movement into your day little by little over the course of a few weeks. Even a few more minutes of physical activity and varied movement a day can make a huge difference in the long run. By building this movement into your day – moving more and sitting less – you should get to the end of the year feeling a bit more energetic and less achy without having put aside long periods of time each day specifically for exercise.

I’d love to hear your thoughts or other suggestions on how to move more in the comments below.

About Rosie TateRosie Tate

Rosie Tate is co-founder of Tate & Clayburn, a London-based company that offers editorial and language services to clients worldwide. A first-class Oxford University languages graduate with an MA in Documentary Filmmaking, she’s an experienced editor, writer and producer, having worked for Oxford University Press, the BBC and Save the Children.

 

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 Karolina Grabowska on Pexels, man walking outside on a call by LinkedIn Sales Navigator on Pexels.

Posted by Eleanor Smith, blog assistant.

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

Starting out as a freelance editor: Reflections on the first few years

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Now at the four-year mark of her freelance career, proofreader and copyeditor Eleanor Smith reflects on the ups, the downs and the lessons learnt – and offers an insight into starting an editorial business.

Having reached the four-year milestone with my editorial business, it feels right to mark the occasion by doing a touch of self-reflection on my freelance journey so far. Hopefully other editors will gain something from reading about my editorial escapades – whether that’s a dose of empathy or perhaps some guidance if you’re only just starting out yourself.

In this post, I will cover:

  • leaving full-time employment
  • taking my first steps as a freelance editor
  • an unexpected roadblock
  • choosing whether to specialise
  • celebrating the wins
  • lessons I’ve learnt.

My background and leaving full-time employment

From about age 13, I knew I wanted to work in the publishing industry. Books had always been an important part of my life, with regular trips to the library as a child to pick out that week’s adventures.

With that in mind, I got my degree in English literature and took some courses with the CIEP (then SfEP). But after a month of editorial work experience in a well-known publishing house in London, I realised the capital city life wasn’t for me.

So when I saw a job for a proofreader in a marketing agency pop up in my home town, I was thrilled. I could still use my editorial skills after all – without leaving home! Before long I was busy editing content and should have been loving every minute. But a toxic atmosphere can ruin even the best role …

It was only when the job began to impact both my physical and mental health that I knew it was time to tread a different path. Of course I was nervous, but I felt taking the ultimate risk and going it alone would be worth it. I knew if I didn’t give freelancing a try, I would always be wondering ‘What if …?’

Baby steps

Now it was time to take my first tentative steps into the freelance editing world. Straight away I rejoined as a member of the CIEP and took another proofreading course to sharpen my skills and increase my confidence.

When there’s no income on the horizon, you start to panic a little. So I sat down and made my first plan: exploring different avenues of finding work and deciding what kind of projects I wanted and was able to take on as a relative newbie.

I researched just about every publishing company in the UK (and some overseas too), set up alerts for freelance editing jobs and looked into several online directories. Slowly, my business started to take shape. I had made contacts, figured out what I wanted to do and set my own pace.

A temporary halt in proceedings

A year into working as a freelancer, I encountered an unexpected roadblock: the pandemic. It turned out it was not a great time to have a young business just beginning to spread its wings. Like many, I was faced with deadlines being pushed back indefinitely and found myself with a lot of unwelcome free time.

What this situation did was present me with a valuable lesson. When you’re self-employed, some months will be more successful than others. I used this time to address some of the tasks that had been shoved to the bottom of the pile – the ones that would eventually make it quicker to come out of this dry spell.

I set about updating my CV and directory entries, contacting different publishers, exploring new ways to enhance the services I offer and finding tools to make editing more efficient. I had to keep a positive mindset and believe that the work would return – and thankfully, it did.

Woman taking notes on a laptop

To specialise or not to specialise?

I knew that a lot of editors choose to specialise in a field where they have previous experience, but as my degree was broad and I wanted to step away from the marketing world, I could go in any direction.

From educational children’s material to novels and puzzles, I’ve worked on a wide range of literature, and I can’t say whether I’ll choose to specialise further just yet. For now, I relish jumping between genres, gladly switching from books about history to fantasy epics to gritty crime.

The point I am trying to make is that it’s okay to choose only one route and stick to it, but it’s also perfectly okay to do a bit of wandering and see what captures your interest along the way. I’m still in the latter camp.

Celebrating the wins

When you work for yourself, there is no boss to give you external validation. No one is patting you on the back for a job well done (unless you do it yourself – no judgement here). Because of this, it can be easy to skim past the wins and, in doing so, fail to acknowledge them.

Over the last four years, I’ve struggled to celebrate these wins (even when I achieved Professional Member status with the CIEP!). Often I became so focused on where the next project was coming from, I didn’t take the time to pause and appreciate what I had achieved so far.

Being your own biggest cheerleader is a great asset as a freelancer, and while I still experience the occasional wobble, I’m finding this gets easier with time.

Lessons learnt (the hard way!)

Starting an editorial business is not an easy endeavour, and I will admit that my naivety has landed me in a few, shall we say, unfavourable situations. If you’re early in your freelance career, perhaps I can help you avoid these snags and keep your metaphorical knitwear intact.

Here are some memorable lessons I had to learn the hard way:

  • Early on, I offered to work on a book for free as a trial, with the hope of receiving repeat work from this particular publisher. I excitedly completed the job, got great feedback, then never heard from them again. Lesson learnt: only offer to do a short free sample!
  • After a client was late paying my invoice, I still took on more work with them and had to keep pestering them to pay. Lesson learnt: don’t give clients too many chances when it comes to payment. If an agreement is made at the start of a project, they should stick to it.
  • When a client asks for a timescale, give your timings a little padding. Better that than having to put in extra-long shifts in a panic to get an edit done on time. Lesson learnt: offer a realistic deadline rather than the one you think the client wants to hear.

Next steps

I’m excited to see where the next four years take me. I plan to continue honing my craft further with more courses, figuring out which projects excite me the most and trying out ways to market myself – something I’ll admit I find difficult, as it’s easy to compare yourself to other editors.

Does the impostor syndrome ever go away? I will let you know if it happens!

About Eleanor SmithEleanor Smith

Eleanor Smith is a freelance proofreader and copyeditor based in Somerset with a passion for films, musicals and cats, the latter being her favourite breed of co-worker. A Professional Member of the CIEP, she applies her editorial skillset to an eclectic mix of projects, from children’s educational books to crime, fantasy and historical fiction.

 

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 Pixabay on Pexels, woman taking notes by Ivan Samkov on Pexels.

Posted by Eleanor Smith, blog assistant.

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