Tag Archives: CIEP membership

What resources does the CIEP offer?

The CIEP offers a wide range of support and professional development material on proofreading and copyediting. In this post the Institute’s information team summarises the resources available to our members and to the public.

Here’s what we’ll be looking at in this post.

  • CIEP resources
  • guides
  • fact sheets
  • focus papers
  • the CIEP blog
  • newsletters and
  • what’s coming up in 2022

CIEP resources

Our information team works with experienced editorial professionals and industry leaders to provide trusted advice and practical knowhow on working with English language texts. These range from tips on getting started, gleaned from practitioners’ years of experience, to the fine details of editorial markup and proofreading etiquette, plus insights into evolving usage and when to recognise it’s an ‘it depends’ situation rather than a rule of grammar.

Guides

Our guides provide a basic introduction to the various skills and knowledge needed to work as an editorial professional. Digital versions of all the guides are free for CIEP members. They encompass such diverse subjects as editing cookery books, pricing freelance projects, working with self-publishers, and editing scientific research articles.

 

 

Fact sheets

Fact sheets are brief introductions to a topic or issue related to practical aspects of editing or proofreading, or working as an editor or proofreader. They aren’t comprehensive but give tips related to the topic and a list of further resources. There are currently over 20 factsheets and the number is growing; topics range from macros and gendered language to scope creep and emotional wellbeing.

Editors work on all kinds of text, from marketing materials, theses and reports to blogs and websites. However, a core area of work for many editors is still books, for print or online publication. All books are different, but many adhere to a standard basic structure. This helps the author and the publisher order the information, but more importantly it helps the reader navigate the finished book, making it a truly useful and accessible resource.

FREE DOWNLOAD: Anatomy of a book

As soon as you agree to take on work for a client, or to complete a task for a colleague, you are under an obligation to ensure the work is completed as agreed. But whether you are a business owner or an employee you will always have other tasks on your to-do list: juggling expectations and moving deadlines, managing yourself and others, chasing invoices and marketing your services, as well as coping with personal matters that may have an impact on your capacity to work. Do you have a plan for how to cope if disaster strikes?

MEMBER RESOURCE: Building a business resilience and disaster plan

Focus papers

Focus papers explore an aspect of the English language or editorial practice that:

  • challenges assumptions
  • offers a new perspective on, illuminates or addresses a problem
  • helps readers better understand the value of professional editing, either their own practice or as potential users of editorial services (or both!).

They are written by well-known and expert names in their field, including CIEP honorary president David Crystal, linguist Rob Drummond and editor Sarah Grey.

If only the whole world had a language in common, war could be avoided. Thatʼs what LL Zamenhof thought when he developed Esperanto in 1887. Esperanto wasnʼt meant to replace anyoneʼs home language, but it would create a common ground for people from different backgrounds. It would make communication easier and more direct, reducing the need for go-betweens like translators and interpreters.

FREE RESOURCE: In a globalised world, should we retain different Englishes? by Lynne Murphy

Serendipitously, just hours after the CIEP asked me to write about whom, an email landed in my inbox. It included this: ‘Patients whom have already received notification …’.

MEMBER RESOURCE: To whom it may concern, by Jeremy Butterfield

 

The CIEP blog

The CIEP blog aims to provide useful and entertaining articles for anyone interested in editing, proofreading, the English language, starting and managing an editorial business, and publishing more widely.

Whether it’s race, sexuality, gender, disability, religion or faith, socio-economic background or any of the other many ways we describe ourselves, as editors, we are going to come across texts that describe people who don’t share the same backgrounds and experiences as ourselves.

Editing outside your experience, by Nicholas Taylor

 

Editorial judgement calls for an understanding of context, for knowing your stuff when it comes to technical matters (whether that’s the finer points of grammar or the finer points of Word or the finer points of inorganic chemistry, if that’s your niche), for knowing when to press ahead and when to leave well alone, and for knowing what resources you need and how to use them. Each of these skills can also be applied to the way you run your business.

How can we apply editorial judgement to our businesses?, by Sue Littleford

Newsletters

We produce two bi-monthly newsletters: The Edit for members, and Editorial Excellence for anyone who wishes to subscribe. Both highlight new resources and blog posts on a particular topic or theme.

Coming in 2022 …

And there’s more to come … In 2022 we hope to publish guides on developmental editing, legal editing, and corporate and marketing communications. There will be fact sheets on keyboard shortcuts, editing LGBT+ content and medical editing, and focus papers by Laura Summers and other well-known names. No doubt the wise owls will appear more than once on the blog, alongside regular contributors including Sue Littleford and Andy Coulson.

Wrapping up: CIEP resources

Now you know what CIEP resources are available, have a look at the ones that are relevant to you. Don’t forget:

  • You can download free fact sheets and focus papers (and even more if you are a CIEP member).
  • Guides provide handy introductions to the skills and knowledge needed to work as an editorial professional.
  • The CIEP blog is updated with new content regularly.

Which CIEP resource has been most useful to you so far? Which one are you planning to read next? Let us know in the comments. If you don’t already receive our Editorial Excellence newsletter, click on the button below to subscribe.

I’D LIKE THE NEWSLETTER

About the CIEP information team

Liz Dalby, Cathy Tingle, Julia Sandford-Cooke and Harriet Power are the CIEP’s information commissioning editors. If there’s a topic that you think could be covered in a blog post, fact sheet, focus paper or guide, drop the team a line at infoteam@ciep.uk.

 

About the CIEP

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

Find out more about:

 

Photo credit: man reading by Tamarcus Brown on Unsplash

Forum matters: Using the CIEP forums with dignity and kindness

How do accessibility and good communications work in our members’ forums? Community director John Ingamells, also a forum moderator, gives us some ideas.

The CIEP’s online forums are probably one of the main ways in which members communicate with each other. From seeking advice on a tricky editing problem or offering work to colleagues, to sharing amusing anecdotes about infelicitous typos, we like to think that the forums are a valuable professional resource for members as well as our very own ‘water cooler’ where, despite us all being cooped up in our own homes or offices, we can meet and interact with each other.

A small team of moderators keep an eye on the forums to ensure good order, iron out any difficulties and answer questions members may have. Like any CIEP space, the forums are covered by the CIEP Dignity Policy, and members should be familiar with that. Here are a few simple do’s and don’ts for using the forums, based on the collective experience of the moderators.

Keep it professional

The first and most important rule – which should perhaps go without saying – is to remember that our forums are not the unregulated Wild West of Facebook or Twitter, but a professional forum populated entirely by your colleagues and fellow professionals. So, be courteous, be polite. Opinions often differ and that’s only to be expected. But we should all maintain a professional attitude when taking part in discussions, avoiding personal remarks or criticisms. The CIEP takes seriously its obligation to ensure that all members can take part in its activities free from bullying or harassment and we expect members to play their part.

Enjoy the chat

But that doesn’t mean it all has to be dour and po-faced. There’s nothing wrong with going off-piste occasionally. Many a thread has started with a question on a strictly editing-related problem but has given rise to a conversation that goes off on all sorts of interesting and informative tangents. And where would we be without our regular laugh from the ‘Typo of the Day’ thread? Another thing to bear in mind is that, although we are a fairly specialist crowd, we can still boast a healthy measure of diversity. We have newcomers and others with years of experience. Some have been in and around publishing all their working lives, others have taken up the red pen after careers in very different fields. We have freelancers and others working in-house who will bring a different perspective to discussions. Most exciting of all is that our global reach has grown and around 20 per cent of our membership is now based outside the UK.

Opportunities in the Marketplace

The Marketplace gives you the opportunity to find someone to do a job that you have been offered but are unable to take on. This can be a great way to maintain a relationship with a good client, even if you can’t fit a particular job in. It should only be used for individual, one-off jobs. So, please don’t use it to advertise, for example, permanent positions with a publisher or the chance to get on a publisher’s freelance list. What we really want to avoid is companies getting free advertising on the Marketplace when they really should be paying for it or doing their own legwork in our Directory!

Our code of conduct for courses

Courses often come up as a topic for discussion on the forums. Many new members have found a wealth of advice about which courses to take and how to go about developing their skills. But, for reasons that I am sure will be obvious, we do not permit detailed discussion about the content of individual courses. Course exercises should be all your own work. So, if you’re stuck on a seemingly intractable point of grammar or formatting in a CIEP course, please try to figure that out for yourself – or ask your tutor!

Some of our members devise and offer their own training courses or materials. You may see references to these resources in members’ signature blocks on the forums, along with links to their websites. This sort of passive promotion is fine. But members should not use the forums for any active promotion of their courses or other paid services.

Screens and spaces

The age of Zoom has thrown up a few additional considerations for the CIEP. The Institute takes seriously its obligation to ensure that all its events are inclusive and offer as many members as possible the chance to participate. At the same time, we have to protect our brand and products.

So, a member might come to a forum with a question about how to do something with, say, PDF markup. Another member might be something of a PDF expert and offer to go on Zoom and demonstrate things by sharing screens. This type of informal cooperation is a hallmark of the CIEP but, while a quick screen-share during a local group meeting to illustrate something is fine, if you are organising discrete meetings for more structured help or informal training, you should use your own Zoom resource for that, rather than the CIEP’s, and make sure that participants are aware that the space is a personal one.

Be discreet

Finally, please be careful about identifying outside individuals or organisations and don’t quote external sources or private emails or messages without permission. In particular, please avoid anything that could cause harm to the reputation of an individual or organisation.


If you’re a CIEP member, have you discovered the forums yet? Find out how to register.



About the CIEP

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

Find out more about:

 

Photo credit: connections by Nastya Dulhiier on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

10 etiquette tips for editors

Editor Jennifer Glossop recently shared her top ten etiquette tips for editors with the Toronto CIEP local group. Here, Katherine Kirk details those tips, and explains why they’re in that top ten.

The Toronto CIEP local group invited Jennifer Glossop to speak about author–editor relationships. A guest speaker at the 2018 and 2019 Toronto mini-conferences, Jennifer has worked as an in-house and freelance editor for over 35 years, has taught editing and has written a number of children’s books.

The Toronto group generously invited non-locals to join, and it was an absolute pleasure to learn from Jennifer. I had put her tips into practice within 24 hours! Jennifer shared with us her finely tuned (but ever-evolving) list of etiquette rules for editors:

  • Make a good first impression.
  • Communicate often and promptly.
  • Put it in writing.
  • Praise the author and the work. Criticise only the work.
  • Be sincere and honest.
  • Know when to give in and do so gracefully.
  • Don’t be afraid to ask stupid questions.
  • Avoid the temptation to lecture.
  • Keep your feedback helpful.
  • Remember whose work it is.

Though some of these tips may seem obvious to experienced editors, Jennifer says it’s often the obvious things that we forget about, and that’s when we get into trouble.

1. Make a good first impression

Whether meeting in person or online, Jennifer reminds us that first impressions last forever. She suggests finding a personal connection with the author, so that you can see each other as people rather than as red marks on a page. We should show an understanding of and enthusiasm for the author’s work. Let them know we are in their corner and be excited to work with them.

Even if you have no knowledge at all of the subject they’ve written about, you can turn that into a strength by saying you’re coming to it without any preconceived ideas or prejudices. Jennifer also points out the impact of a professional website as a first impression, and she encourages us to emphasise our experience on it.

Once you’ve connected with the author and gained their trust in you, you need to help them trust the process, and the best way to do that is by ensuring that they understand the timeline, stages of editing, what to expect from you and what they are responsible for. Freelancers should make sure the scope of work is clear and agreed upon by both parties, and this is the time to discuss payment.

Finally, you need to find out about the author’s vision and goals for the book, and to do so, you need to listen to them and ask them questions. This will guide you in the type of feedback you give them. Get on the same page about the manuscript; this can also avoid disasters later, like the editor thinking the book is a tragedy when the author intended it as a comedy.

2. Communicate often and promptly

It’s important to be reachable, stay in touch and meet deadlines. This is a basic courtesy and Jennifer didn’t dwell on it, but the CIEP’s Code of Practice expands on it, saying, ‘A fundamental requirement in the good handling of any material is to raise major queries without delay and other minor queries in batches as convenient to all concerned’. (COP 5.3.2a)

Be sure to define your boundaries and politely affirm them if necessary.

3. Put it in writing

Back in the day, Jennifer would discuss the job on the telephone, and post letters to clients. She tried always to keep a written record of what was discussed on the telephone, since our memories can’t be trusted. These days, email makes everything a lot easier, but she says the same principles in writing those letters apply.

She recommends the ‘praise sandwich’ approach for written communication, as it can soften the blow of criticism and make the author more willing to act on it. The filling of the sandwich should not be only criticisms, but rather explaining what you did, and what you expect the author to do next.

Jennifer also recommends sending longer communication like editorial reports as attached documents so that they are more easily referenced and don’t get lost in the inbox.

4. Praise the author and the work. Criticise only the work

There is no such thing as too much praise, and even if it feels saccharine or artificial when you’re writing it, if you are being sincere and honest, and use it properly, it can be a very powerful editorial tool. Writers crave praise, and it will soften the criticisms.

Criticism can feel very personal when it relates to sensitivity issues. Jennifer suggests framing those queries from the reader’s perspective and recommending an authenticity read if necessary. It helps to remind the author of how wide (and how diverse) their audience might be, and why using conscious language is important.

5. Be sincere and honest

Editors should not lie to authors or make empty promises about their potential for publishing success. That said, you can stretch the truth a little and tell authors their writing is a little better than it is.

Jennifer says, ‘Honest criticism is the greatest gift you can give. Clear and well-thought-out criticism is useful. Criticism for the sake of saying something can be damaging.’ Editors who want to master the art of querying might want to sign up for the CIEP’s new course.

6. Know when to give in and do so gracefully

Jennifer adds, ‘Even if it’s through clenched teeth.’ Choose your battles and if the hill of the serial comma is not worth dying on, let it be. It’s not your book.

7. Don’t be afraid to ask stupid questions

Jennifer says that sometimes editors need to take on the responsibility of being the ‘designated idiots’ in order to fully understand the text and make it clear for the readers who come after us. She cautions us to be careful how we phrase our questions so that they are specific and useful.

8. Avoid the temptation to lecture

Although Jennifer has spent many years teaching us to edit, and many of us have been teachers at some stage in our lives, she reminds us that we are here to edit, not to teach the author. She recommends letting the author come to you with questions where they need clarity, but generally keeping explanatory notes brief and sticking to what is necessary.

Your client might not need to know the difference between a dependent and independent clause, or they might not care. Don’t come across as a ‘tutting school marm’ or condescending.

9. Keep feedback helpful

There are three types of feedback someone can give, Jennifer explains. The first is appreciation, which we might expect from friends. The second is evaluation, which we get from reviewers or examiners, and which can feel demeaning. The third, which editors should strive for, is coaching, where you tell the author what’s wrong, how to fix it and praise them for doing it well.

Jennifer suggests avoiding telling an author to do something beyond their ability or against their wishes. She also suggests breaking your feedback down into a logical and manageable sequence of steps, and helping the author to navigate it, especially for developmental or structural edits.

Jennifer usually starts her feedback with a phone call, as she believes that editing should be a dialogue between author and editor. She sometimes teaches authors techniques for processing the information she’s given them.

10. Remember whose book it is

Remind yourself that this is the author’s book, not yours, and never put your own ideas, jokes or voice into it. It is their book, and they might have spent years creating it, so be sensitive towards them and the text.

Saying ‘this is not my book’ doesn’t mean giving up on doing the best job you can; you’re still a part of its creation, and that should be enough for you to care about doing the work properly.

If you laid out the scope up front, didn’t make assumptions or have expectations about the text, and got everyone on the same page about those expectations and responsibilities, then your role will be clear and you can make the writing shine within the limits of your brief.

Some authors like to acknowledge editors for the role they play in bringing the text to life, by mentioning them in the acknowledgements or in the front matter. Jennifer says this is up to the author and editor to negotiate, but it’s fine to say no and ask for a testimonial or referral instead.

Wisdom sharing

Jennifer’s advice focuses on putting the person first, and encourages us to see the human behind the words we’re editing. It was amazing to be able to pick the brain of someone with so much experience, and yes, we did gush profusely about Margaret Atwood’s The Handmaid’s Tale, which Jennifer edited.

I left the meeting with a fullness in my heart at the thoughtfulness that informs her editing, and the generosity of editors who are willing to teach each other and help the whole profession grow. The CIEP’s local and international groups are a great space for sharing editorial wisdom, and they’re well worth a visit.

About Katherine Kirk

Katherine Kirk (Gecko Edit) edits fiction and tabletop role-playing games for clients based mostly in the USA. She lives halfway up a volcano in Ecuador and can be found every Thursday at Cloud Club West on Zoom – though she might put on a bunny hug disguise and sneak into more Toronto group meetings in the future.

 

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 credit: Answers by Hadija Saidi on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Meet our members: Leona Skene

We want you to meet our members, so we’ve asked some of them a few questions, and have found out how they started their editing career, and what they love about their work. In this post, Intermediate Member Leona Skene tells all.

Why did you choose an editorial career, and how did you get into it?

I’ve always known that I wanted to work with words and language. As a child, I was an enthusiastic reader, and I chose to study English & Scottish literature at university. I then went on to gain a certificate in Creative Writing.

It became apparent that I wasn’t ever going to become a famous novelist, and so I went on to work in unrelated fields for a number of years. After a career break to have my children, I realised that my strengths actually lay in editing and polishing other people’s work, not in creating my own.

I undertook training with the CIEP (then SfEP) in 2015. I then worked on ad hoc freelance projects, along with a regular gig as sub-editor of an events magazine, until January 2021, when I launched my own business, Intuitive Editing.

What training have you done to get your editorial career up and running?

I completed the CIEP’s Proofreading 1 and Copyediting 1 courses, and I’ve attended several useful webinars through ACES: The Society for Editing. I’m committed to further CPD through the CIEP: I completed Word for Practical Editing earlier this year, and am looking at Efficient Editing: Strategies and Tactics as my next step.

What work are you most proud of?

I take pride in all my editorial jobs, but I’ve worked on a few projects where I’ve been able to give specific advice on the Scots language, along with Scottish culture and identity. I do feel really proud of that.

What do you do if you’re struggling on a job?

I usually step back, have a bit of a breather, and try to regain perspective. I often ask for advice from colleagues in the Editors of Earth Facebook group; they’re a great bunch, with many CIEP members involved. And the editing community on Twitter is very helpful.

What does being a member of the CIEP mean to you?

Being a CIEP member is immensely important to me. Becoming a freelancer essentially means you’ve magicked up a career for yourself out of thin air – this can be wonderful, but the flip side is that it’s easy to let imposter syndrome get the better of you. There’s no line manager to provide feedback; nobody to tell you if your decisions are good ones or bad. The CIEP provides that all-important backbone of training, support and professional accreditation. I couldn’t have started my business without that.

Which editorial tasks do you enjoy the most, and why?

I love doing the first pass of an editorial job: getting the feel of the text, absorbing the author’s voice, making notes of any immediate issues that jump out. There’s a little thrill in entering the ‘world’ of a book for the first time and seeing the difference you can make to it.

Do you have any editorial pet hates?

Comma splices. My editing style is quite relaxed, but there’s something about those cheeky little baddies that rubs me up the wrong way. All comma splices are annihilated with extreme prejudice.

What has most surprised you about your editorial career?

The variety. As a relatively new editor, I’m still in the process of finding my niche and deciding which area to specialise in. I’ve been lucky enough to work on historical fiction, children’s fiction and YA, sci-fi and fantasy, and creative non-fiction. I’ve learned so much along the way, and I’m still learning!

What’s the best career advice you’ve received?

‘Under-promise and over-deliver.’ Don’t promise the world; be conservative and realistic about the service you can provide within a specific timeframe. It’s quite likely that you’ll deliver the project a little earlier than stated, which is always a nice thing for the client.

What advice do you have for people starting out on an editorial career?

I’d say that professional training is a must. It’s great to have a natural talent for spotting typos, but there’s stuff you just won’t learn unless you study it properly. Or possibly you will learn it, but it’ll take much longer.

I would recommend looking at the CIEP’s course directory or that of another recognised provider, such as the PTC. If you’re not at the stage where you want to commit to training, it’s worth joining a few Facebook or other social media-based editing groups – these can give you a general feel for the type of work editors do on a day-to-day basis. Another fantastic resource for newbie editors is Louise Harnby’s website – Louise has loads of information and how-to guides for both editors and writers.

Do you ever stop editing?

Absolutely never. I’m editing in my sleep at this point!

Finally, tell us one thing about you not related to editing

I lived in Italy for two years, and although my spoken Italian is now woeful, I still have strong feelings about pasta, pizza and the proper time of day to order a cappuccino. It’s a morning drink!


Want to meet more of our members? Head over to the Meet our members page.


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 books by lil_foot_; Scotland by bummelhummel; cappuccino by gadost0, all on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

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

The 2021 CIEP conference: The chair’s opening remarks

Returning to its usual early September slot, the CIEP’s annual conference stayed online in 2021. Over 370 people attended from time zones across the world, with speakers in the UK, Australia, Argentina, Canada and the United States. Recordings of all sessions have been made available to attendees, so it truly was a bumper offering for everyone. Summaries of all sessions will be published on this blog over the coming weeks.

CIEP chair Hugh Jackson closed the 2020 conference with moving words, and many of us had tissues at the ready as he opened this year’s.

Hello and welcome back to the CIEP conference. Another year has passed, summer is slowly turning to autumn, and it is my absolute joy to be able to see you all again. Of course, to some people I’m not saying welcome back but welcome for the first time. We’re so very pleased you could make it. This year, I’d like to extend a special welcome to members of our partner organisations; I very much hope you will enjoy the experience of conference.

Right now, if all had been well, we would have been basking in the bright warm sun and cloudless skies of Glasgow in autumn. We should have been gathering in excitement in a conference room, sitting next to strangers who will soon become friends, and grasping pastries and mugs of steaming coffee – or, as Beth describes them, disappointing beverages. We would have shaken hands and hugged, and long into the night we would have talked and laughed. While we might have been in one place, though, we wouldn’t all have been together, because many of our friends and colleagues have only been able to come to conference these last two years because it has been online. When we board planes or trains, or get into our cars for long drives to another city again for an in-person conference – and I promise we will do – we will have to find a way to do so as one body, bringing everyone along with us and leaving nobody behind.

There’s something special about our conference. It would be easy to say that it’s all about the learning or about the social interaction – and those are top-notch, by the way: if you’re here for the first time, you should know you’re in for a real treat – and it’s not simply that the people you meet here at conference are just plain nicer than people you meet everywhere else – which is also true – but I think it’s something more than that. I’ve been to plenty of conferences, and I’m sure you have too, that have had all those elements but haven’t had that something special, that buzz of excitement, that crackle of activity that you get here. I’ve been wondering what it is, how to explain it, and I think it’s this. Once a year, we get to come together and not only is there brilliant learning and socialising and lots of lovely people, but we’re also reminded that we’re a vital part of something bigger than ourselves, a mission with a history that was here long before us and will thrive long after we are all gone. A profession that spans the continents and unites us in our delight in something so simple but so powerful as the written word, the careful arrangement of dots of ink on paper or pixels on a screen.

I left you last year with the thought that, whatever happened over the following year, whatever struggles we’d have as a profession, we’d weather them together. I’ve never been so proud of being a member of this community as I have been this last year, because of how well I’ve seen you all come together. I know it’s not been easy, and I fear it might stay difficult for some time, in any number of ways. I can’t promise broad, sunlit uplands, and no responsible speaker would. The road ahead is also not yet obvious. But when so much closed down in spring last year, editors kept on going. In the absence of theatres, galleries, concerts, sports events and schools, the need for that power of the written word felt desperately important, whether that was the enormous quantities of new research, scientific and social, trying to make meaning out of what at times felt senseless and plotting a course through to the light ahead, or new human stories that, indeed, tried to do exactly the same thing. Book sales rocketed, because people needed to read but also to write, to express new feelings and fears and hopes and understandings that they hadn’t had before. When things became bleak, people instinctively reached out for the power of the word, and you were there to make sure it was the right word. Thank you.

But where did we go? Where did we take refuge when our professional lives became difficult? When our businesses went quieter? When we couldn’t see our friends? When our families refused to have another flaming conversation about some funny typo we found in a newspaper? But also when we were just starting a business in the middle of a pandemic and needed to know how to get that first client, finish that first training course, make that first cold call to a publisher? What happened when our words failed us? Where did we go then? We came here, to be together. And the CIEP and its members have been here throughout, with kindness, authenticity and hope. When the world closed down, we opened up. All of this is to say, whether I’m saying to you welcome or welcome back, what I’m really saying is welcome home. You’ll be glad you came. And it’s my great privilege to declare the conference open.


The CIEP conference takes place every year, and in 2020 and 2021 the whole event was online. Plans are afoot to make the 2022 conference an in-person and online hybrid event.



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:

 

Posted by Abi Saffrey, CIEP blog coordinator.

When publishing contacts move on, and how to keep moving as a freelance editor

Leena Lane reflects on the importance of career moves and development – for freelance editors and for the people they work with – and focuses on thoughts regarding:

  • career paths
  • choosing freelance or in-house
  • networking
  • benefits of CIEP membership

I often take 15 minutes before starting work, especially on Mondays and Fridays, to scroll the news headlines across both current affairs and updates within the publishing world.

Posts which can make me both joyful and wistful at the same time are the ‘I’ve got news’ tweets. An individual who has been my main contact at a publishing house is making a career move to another company or is going freelance themselves. This has happened twice since COVID-19 hit and is no real surprise as people reflect on their lifestyle and commute, their career path, or just feel the need for change.

Despite working remotely as a freelancer, and having shared the stress of many deadlines and also those punch-the-air moments of success, I often come to regard these clients as ‘colleagues’ of a sort. When they move on, it stirs up conflicting thoughts and feelings.

Sadness

I’ll miss them! They’ve been great to work with and a friendly contact over many years. Sometimes I’ve known them start as the newbie enthusiastic/stressed editorial assistant, move up within the company to assistant editor, commissioning editor, and then move away to be editorial director.

Excitement

I’m genuinely pleased for the individual – their skills, character and contribution have been recognised and rewarded. They’ll be fabulous at their new position.

Trepidation

In the past, losing a personal contact has sometimes meant losing regular work with that company – how can I prevent that happening this time? How can I make contact with their replacement? How can I shine out from the pool or list of freelancers they’ll see on arrival, and how can I cultivate relationships with a wider team at the same company?

Opportunity

New doors to push? As they move on, might they be able to use my services within their new company, or introduce me to someone who will? Time to polish the website, Twitter profile, CIEP Directory entry, LinkedIn profile, etc, and prepare for some self-marketing.

Wistful reflection

After ‘slowing down’, even just for a year, in terms of career-focused work to start a family, it can be challenging to make it back to where you hoped to be. Relatively few publishers offer part-time or job-sharing as a serious option for key editorial roles.

Though many people appear to succeed and ‘do it all’, a long commute, high childcare costs and having no family locally made a full-time in-house position increasingly difficult for me. I started freelancing to bridge this phase of life until I could find the right in-house role again, but it has quietly turned into a more permanent path.

There have been many pros:

  • the rich variety of clients and projects
  • flexibility
  • focus groups in my own house (aka lots of bedtime stories, Middle Grade critiques and YA rejections)
  • focus groups in my community (aka being a primary school governor and seeing what parents, teachers and children are really reading, needing, thinking).

There have also been some negatives:

  • missing that buzz from being part of a regular team
  • lonely moments
  • erratic income at times
  • and a few regrets:
    • Should I have tried to get promoted one more level before having kids?
    • Should I have taken less parental leave?

Constructive reflection

As a freelancer, how have I still tried to progress in my career?

This is where the CIEP has been instrumental in keeping me on track and also in strengthening my resolve that being a freelancer can be just as fulfilling and valid for me as being an in-house editor.

Since joining, and upgrading twice, I’ve come to appreciate this group of editing professionals more each year: some on a similar path juggling career and family; some going freelance to provide variety they perhaps couldn’t find within just one publishing company; others continuing to work in-house − all striving to provide excellent editorial service within the industry.

One fantastic resource to guide career progression is the new CIEP Curriculum for Professional Development which details what editors and proofreaders need to know, and how they can acquire that knowledge.

In lockdown I’ve finally met up with my regional group, albeit on Zoom, and have bounced ideas around and received some really valuable tips and advice from both new and experienced members. The CIEP’s annual conference – online in 2020 and 2021 – is a wonderful opportunity to meet with editorial professionals, to learn and to laugh.

As I turn back from news-scrolling to my current project, I congratulate those moving on and progressing in their career in publishing, especially those who are, only now in 2021, finding chinks of fairer access and representation – there’s still so much more to be done. Within the community of the CIEP, I feel challenged to stay alert and fresh in my own career.

About Leena Lane

Leena Lane is a Professional Member of the CIEP  and is a member of its Berkshire local group and Run On. Leena provides editorial services to publishers and authors, specialising in children’s Middle Grade and Young Adult books. She’s committed to making stories more representative for all young readers.

 

About the CIEP

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

Find out more about:

 

Photo credits: signposts by Javier Allegue Barros; doors by Robert Anasch, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Forum matters: Editorial terminology: Grammar, inclusivity and meaning

In this article one CIEP forum moderator looks at discussions of terminology in the CIEP forums:

  • What is terminology?
  • Grammar terminology
  • Look it up!
  • Hold on – what is copyediting?
  • Being inclusive
  • Niche knowledge
  • Just ask!

What is terminology?

Terminology. Definitions. Vocabulary. Jargon. The meaning of things. The official definition is ‘the body of terms used with a particular technical application in a subject of study, profession, etc.’ (Lexico). This term can definitely be applied to editing, which has a marvellous lexicon of editing terms, such as widows, orphans, ligatures, en dash, justify, leading and kerning, which new editors may puzzle over.

Grammar terminology

It’s very common to know instinctively that something ‘looks wrong’ when you’re editing, but you may not have the knowledge of grammar terminology to be able to confidently say what is wrong, and why*. Perhaps you weren’t taught formal grammar at school, or perhaps you learned about grammar a long time ago and your skills are rusty. The new CIEP Getting to Grips with Grammar and Punctuation course is designed to give students the skills, terminology and confidence to be a better editor.

This confusion is not helped by the fact that many grammatical terms are known by more than one name: is it a gapping comma or an elided comma? An adverbial or adjectival phrase? A dangling participle or a dangling modifier? And what’s it called when you start a sentence with ‘so’ – and why is it so common today?

And for the last word in terminology? The CIEP proofreading and copyediting courses include access to a Resource centre which contains – among many other useful documents – a glossary of all the publishing and editorial terms you will ever need, from ‘abbreviation’ to ‘Word template’. There’s also a glossary in the back of New Hart’s Rules – my go-to style guide. For fiction editors, MH Abrams’ and Geoffrey Harpham’s A Glossary of Literary Terms will come in useful.

*You’ll need to be registered for the fiction forum to see this post.

Look it up!

One of the skills that it’s essential for an editor or proofreader to master is knowing when to look something up, knowing where to look it up, then actually looking it up and applying the answer to the text they’re working on. The forums can be super useful for this too.

Not sure whether to use ‘who’ or ‘whom’? See ‘who/whom – going cross-eyed’.

Do verb tenses make you tense? Then see ‘Please help with some technical jargon’.

Hold on – what is copyediting?

One of the questions editors and proofreaders are asked most often is: what is copyediting? What is line editing? What’s the difference between them? Unfortunately, there is no one universally accepted definition of these terms. Some people think that they are very different beasts, while some people think they are the same thing. And what about proof-editing? What does that involve – and where do you draw the line?

The most important thing is that editors and proofreaders tell clients clearly what service their project needs, and list the tasks they will carry out on a job. That way, there’s no confusion. For more guidance on this, see What is proofreading? and What is copyediting?

Being inclusive

It’s not just editing terminology we need to consider. We also need to think about the words we use around disability, age, ethnicity, culture and sexuality. These are always changing, and editors and proofreaders must keep up with these changes.

Threads on these topics come up a lot on the forums – here’s a selection you may like to read. I guarantee that you will learn something!

A thread on ‘What is a female-headed household?’ led to a passionate discussion on terminology, as did threads on ‘Is “pro-poor” the best term to use?’, ‘Is the phrase “Black, indigenous and people of colour” acceptable?’, ‘People of colour’ and one on the best wording to use around mental health.

I especially enjoyed the thoughtful discussion on these threads on sexist terms and whether or not we should refer to master copies, which referenced a session on sensitivity issues in a recent Cloud Club meeting.

Finally, one thread contains some helpful suggestions for resources around inclusive language.

Whichever words you choose to use, remember this: ‘Your words have power. Speak words that are kind, loving, positive, uplifting, encouraging, and life-giving’ (unknown author).

Niche knowledge

Of course, discussion on the forums isn’t always serious. There are plenty of light-hearted threads too, such as these on betting, butterflies and bridges.

And if you want to tell someone you’re a copyeditor without telling them you’re a copyeditor, is there any better way than to enquire: Should liturgical Latin terms be set in italic?

Just ask!

As ever, the forums are wonderfully diverse resources of all kinds of knowledge. If you want to know the answer to something, and you’ve tried looking in your library of style guides, editing guides and reference books, then ask on the forums. Someone is bound to know.

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

About the CIEP

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

Find out more about:

 

Photo credits: typesetting tools by Etienne Girardet; Welcome by Belinda Fewings on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

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

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

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

How to mine the forums

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

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

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

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

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

Threads of pure gold

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

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

Daily updates

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

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

Occasional pupdates

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

Invaluable advice for fiction editors

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

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

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

About the CIEP

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

Find out more about:

 

Photo credits: Gold by Lucas Benjamin; pups by Bharathi Kannan, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Six pieces of advice from runners to editors and proofreaders

Run On, the CIEP’s virtual running group, was founded on Facebook two years ago this week. We now have more than 70 members, who post pictures of the scenic backdrops to their runs – our members really do live in some stunning places, from Scotland to Switzerland, Hong Kong to Ecuador, Cornwall to Melbourne – and share running tips and stories, injury woes, and recommendations for listening as they pound the miles. The group contains fell runners, parkrunners, marathon runners, ultra runners, occasional runners, resting runners and retired runners, all of whom offer support and encouragement to each other. If you’re a member of the CIEP and a runner, why don’t you join us?

When an article by Ron Hogan on what writers could learn from runners came up on Jane Friedman’s website in June, Run On members were asked what editors and proofreaders could learn from runners. Their responses fell into six categories:

  1. Build slowly
  2. Take steps to clear your head
  3. Get enough rest
  4. Push through procrastination
  5. Seek a wider network
  6. Now and then, remind yourself why you do it

1. Build slowly

Many a runner has been caught out by training too much too early and ending up with an injury. One member counsels:

Building distance is not unlike growing your business/doing CPD: start off with modest goals and build slow and steady. A good training base for building experience is better than ‘shortcuts’/skipping the fundamentals.

2. Take steps to clear your head

If you’re seeking a breakthrough or inspiration in an area of your work, it makes sense to step away from your desk and do something else. The answer may well come to you in a different environment, particularly if you’re out in the fresh air:

I find running clears my mind and lets me work out problems. These could be related to editing, running my business or planning ahead. I usually run with music, but occasionally listen to the Editing Podcast too, which helps me solve some of these problems, or at least gets me thinking about them on my next run.

When I’m running, when I lose focus on my breath (I try to meditate on it while running), I allow my mind to drift to work issues and mull over what I’m currently editing/writing. I find I can sort through my thoughts on all kinds of issues in that space. It really clears my head for the day ahead.

3. Get enough rest

Few runners run every day. They know it can lead to injury and exhaustion. One Run On member observes:

Rest days are important for runners, and the same is true for editors, especially when your desk is at home seven days a week and the temptation is to keep working. Rest reduces the risk of exhaustion and burnout, and helps us come back to our work refreshed and enthusiastic. We may even work out/spot things we missed before the break. And just like runners may need to take a break because of injury, so editors need to listen to when their editing brain needs a break.

4. Push through procrastination

You’ve planned a run but a nice sit-down seems much more inviting. Just as runners sometimes have to force themselves out of the door, editors and proofreaders sometimes have to spur themselves on to that next chapter or paragraph. But, running or editing, the effort is always worth it.

There are days when I really don’t want to run at all, but I make myself do it because I know how good I’ll feel at the end of the run … a metaphor for pushing through moments of editing procrastination and being rewarded with a job well done, a load off our minds and a happy client in the end?

5. Seek a wider network

Even though runners often train on their own, they find that joining a real or virtual running group inspires them to carry on and offers support when they need it. The CIEP, and other professional groups, work in a similar way for editors and proofreaders.

Even though these are things we often do alone, online support and advice (and occasional real-life meetings) can make us feel part of something much bigger.

6. Now and then, remind yourself why you do it

If you’re a runner, the two comments below will make you itch to get your trainers on and head out. As editors and proofreaders we, too, need to be inspired by each other. Seek out sources of inspiration – such as training, conferences and other networking opportunities, podcasts, blogs, articles and books – so that you can return to work with new fire.

I typically listen to podcasts or music when I run, but when I really want to be in the moment, I unplug and mindfully notice everything around me: sounds, the movement of my body, the alignment of my posture, the smells in the air, the temperature … This attention to detail sharpens and kind of *empowers* my mind, and it reminds me that running is as much a mental challenge as it is a physical one – l think editors owe the same level of awareness and mental fortitude to the work our clients give us.

There’s a comparison for me that’s something to do with the value of sustained/focused attention. When I’m running, I become hyper-aware – in a good sense – of my physical state: what’s hurting, what is or isn’t moving smoothly, what effect it has if I change gait or pace or running surface or any other detail. The result is a much greater feeling of control over and harmony with a body that often otherwise feels like it’s working against me due to my chronic condition. I’m doing a very in-depth developmental edit at the moment and there’s a parallel there, with how immersed you become and how that eventually gives you an instinctual feel for the right structure, tone, word choices etc.

Thank you to all the runners who so generously contributed their thoughts to this blog, and the wider membership of Run On who have made the group such a fun, supportive and inspiring place to be over the past two years.

About Run On

Run On, CIEP’s virtual running group, was founded on 13 June 2019. In autumn of that year, we had our inaugural run at the CIEP conference in Aston, Birmingham (pictured). We support CIEP runners through our Facebook Group page.

 

 

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: runner by sporlab on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Eight ways to optimise your CIEP membership upgrade

The CIEP’s Admissions Panel shares eight things that members can do to make their upgrade applications straightforward, and hopefully successful.

What the Admissions Panel needs from you

The CIEP’s membership structure, with its four grades, is one of our core member benefits. It’s designed to help you, our members – to enable you to show the world that you have verifiable experience and qualifications. It’s also designed to contribute to the stated purpose of our chartered Institute: to uphold and promote the highest of editorial standards.

The Admissions Panel, which assesses upgrading applications, may seem a rather shadowy entity. Except for the professional standards director, who chairs the Panel, not even the CIEP Council knows who its members are. Panel members never have direct contact with applicants – it is all done through the CIEP office – and the anonymity of applicants is rigorously upheld. If a Panel member thinks they might know who an applicant is, they withdraw from handling or discussing the application and it is dealt with by other Panel members.

The Panel has a dedicated forum where details of applications are discussed daily – for example, deciding how many training points to allocate to a course they have not encountered before. All upgrades that are refused must be discussed on the forum and the grounds for refusal agreed, and a second Panel member must check the application in detail.

The Admissions Panel is interested in core skills (copyediting and/or proofreading) – where and how you learned them, the experience you have in exercising them and (for the professional grades) what your clients thought of your work in using them. You should complete your application with this very much in mind. The detail on the website will guide you.

In the course of Panel discussions, certain issues arise repeatedly, and we’d like to clarify how you can help us with these, so that we can in turn help you. We so much appreciate it when you remember to do this or realise how helpful that is! Here are eight tips your Admissions Panel would like to share with you.

1. Approach the upgrade process as you would an editorial job

  • Understand the brief, do what’s asked and do it to a professional standard. This means you need to read the upgrade pages of the website carefully. That is your brief: all the instructions you need are there. It also means keeping your upgrade application confidential, just as you wouldn’t go on Twitter, for example, to discuss a job application.

2. Begin building your application early

  • You’ll have a much better chance of providing us with complete and accurate information if you add to your upgrade application as you proceed with your training and work experience, rather than trying to assemble all the information later on. Our system saves all the information as you enter it, and you can return to it, edit it and add to it as and when you like. Nobody will see your application until you decide it’s ready and submit it.
  • An important free toolkit to help you complete your upgrade is included in the members’ area. Under Going Solo Toolkit follow the business records link to find a suite of spreadsheets. As well as helping you to keep good records for your business, two of them in particular will keep you on the right lines when applying to upgrade, because they log the information the Panel needs. Fill in the work record and training and CPD spreadsheets, delete the green-headed columns that the Panel does not need to see, and upload them with your upgrade application. Sorted!

3. Know what the core skills are and make sure you have
them covered

  • Do you know the difference between the core skills and other editorial skills? The CIEP core skills are copyediting and proofreading, and they are fundamental to your upgrade. Look for the flagged courses in the list of examples of training courses in the members’ area of the website, under professional development.
  • If the course you want to know about is not on the examples list and you are unsure about points for particular training, contact the professional standards director to ask. They can also answer your queries about whether a client or employer is considered to be a publisher for the purposes of upgrading: that is, whether that client or employer can assess your work in terms of the editorial standards that the CIEP regards as essential.

4. Understand the requirements for your grade

  • All applications for the professional grades have to be supported by the three pillars of training, experience and reference(s). No one of these can make up for a shortfall in another, and if a pillar is missing your application will fall down.
  • For Intermediate membership, the importance the CIEP attaches to training as a basis for your career is reflected in the proportions of the minimum requirements: six training points to one experience point. At least four of these training points should be in the core skills.
  • For Professional membership, you need to show that you have a more extensive grounding in the core skills. You will probably also have done training in further editorial skills.
  • For Advanced Professional grade, you need to provide evidence of recent continuing professional development (CPD), in addition to your core skills training. To be considered for the topmost grade of CIEP membership you are expected to have had training that is more advanced. Continual acquisition of skills and knowledge is a mark of advanced professionalism. The Panel will take into consideration a variety of CPD, but it has to be recent – within the 36 months before the date of application.

5. List all your relevant training

  • Don’t assume that if you have listed extensive experience but little or no training the Panel will credit you with the necessary training points. You may have been trained on the job earlier in your career – if so, tell the Panel! The Panel can allocate training points to this if they have enough information about it. Who delivered it? When did it take place and how long did it go on? What did you learn? Did it involve being mentored? Was it assessed?
  • If you have gained a degree or diploma in publishing or journalism, or a related field, the Panel will be interested primarily in any editorial modules you have done, so do give details of what was covered in these modules.
  • Skills such as development editing, structural editing and editorial project management can be counted towards your upgrade, as long as you have enough evidence of the core skills too. Do list any training in these. If they form part of your work experience, indicate what proportion of your work was in these areas. The Panel will be able to allow a small proportion of the minimum hours for the grade to be from one of these activities.

6. Exclude irrelevant information

  • Any further information you give should be concise and relevant. Please don’t attach a discursive account of your career. If you need to give additional information, confine it to a paragraph or a list in the further information section of the form. Personal information is not relevant; if you include personal information, there is a danger it might identify you, which will hold up your upgrade as it will have to be transferred to another Panel member to assess.
  • Training or experience in translating, writing, teaching writing, teaching English, indexing, typesetting or marketing is not relevant to your upgrade so there is no point in listing details of these. Copyediting or proofreading your own work also cannot be counted.
  • Only training and work in copyediting and/or proofreading English (any variety) will count; training or work in other languages will not. This is because membership of the CIEP indicates to your prospective client or employer that you have attained a certain standard of competence in editing and/or proofreading English. If a training course is taught in a language other than English, the Panel cannot assess its content. And your experience of editing in a language other than English does not attest to your competence in editing English.

7. Present your upgrade documents well

  • It may seem a strange thing to have to say to editorial professionals – but do proofread your application! The Panel is often surprised at the errors and typos that come through on upgrade forms and uploaded documents. Remember that you can save your upgrade form and return to it as often as you like to check and edit it before you submit it. Remember, too, that your upgrade application is showcasing your professional competence.

8. The Panel will only ask for additional things from you if they
are necessary

  • If the office contacts you with a question from the Panel, it’s because they need to know the answer in order to give your upgrade the best chance to succeed.
  • If the Panel asks you to take the CIEP’s editorial test, it will be for a good reason. If you have an extensive work history for publishers but little or no formal training, you can demonstrate that you have a grasp of the core skills of copyediting and proofreading by passing the test. If you have worked only, or mainly, for organisations or individuals that
    are not considered to be publishers for the purposes of upgrading, you will be asked to take the test. The expertise of such clients or employers is not in copyediting or proofreading and they may not know what the professional standards are, but this work can still be
    counted for your upgrade if you can demonstrate – by passing the test – that you know
    what they are.
  • Of course, you don’t have to wait for the Panel to ask you to sit the test – you can do it before you apply and include the result on your form.

The professional approach and high standards that you bring to your work for your clients are equally relevant to your application to upgrade. Read all the information and instructions and use the tools provided to help you. Good luck!

If you’re preparing to upgrade your membership, don’t forget:

  1. Approach the upgrade process as you would an editorial job.
  2. Begin building your application early.
  3. Know what the core skills are and make sure you have them covered.
  4. Understand the requirements for your grade.
  5. List all your relevant training.
  6. Exclude irrelevant information.
  7. Present your upgrade documents well.
  8. The Panel will only ask for additional things from you if they are necessary.

Start your membership upgrade now

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: tiles by Andrew Ridley; Please stay on trail by Dan Gold, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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