Tag Archives: CPD

Ten tips for your first copyediting job

By Liz Jones

If you’ve focused on proofreading until now, the idea of copyediting can seem daunting. For a start, you’ll probably be working on a Word document rather than a PDF or paper proofs, which means you’ve got far more freedom to make changes. But are you qualified to do the work? How sweeping should your changes be? And how can you tell the difference between what needs to be changed, and what can be left alone? Here are some tips for coping with that first job. 

1. Don’t panic!

First, take a deep breath. You’ve got this. Proofreading and copyediting are on the same continuum – it’s all editing, just at a different stage of the process and therefore with a different emphasis. Copyediting is about preparing the raw text for layout, rather than applying the final polish before publication. (That said, you want the copyedited text to be as clean as possible.) For copyediting, just as for proofreading, it can help to approach the work by considering what can stay the same, rather than what needs to change. The author’s preferences are a good place to start, and if you’re working for a publisher, their style sheet can offer useful guidance on many editorial decisions.

2. Read the brief.

This is your best clue to how much you need to intervene. What is the client expecting? A publisher might offer very clear instructions on the extent and scope of the work, and how much they would like you to change (or not). But what if there is no brief? If you’re working for a self-publisher or a non-publishing business client, the brief might be open-ended or even non-existent. In this case, you need to put yourself in the shoes of the reader. Your job as copyeditor is to remove barriers to understanding the text, and make it ready for publication. Consistency, clarity and accuracy are key. Take a look at the CIEP’s FAQs on copyediting for more tips.

3. Assess the work.

You wouldn’t start to build a house without a plan, would you? (Well, I hope you wouldn’t.) It’s probably a smaller job, but likewise you shouldn’t start a copyedit before you’ve assessed the scope of the work. When you quoted for the job, you will have looked at what it involves and should have a good idea of the time it will take. But before you start the edit look again, and more closely. Work out a plan of action. How will you order the necessary tasks? Can you figure out the most efficient way to complete the work to a high standard? (This is crucial if you’re being paid a flat fee.) It can be tempting to get stuck in right away, but a little forward planning can save a lot of time later on. You might also identify problems you need to discuss with the client, such as missing material or a heavier-than-expected level of editing.

A good way to get an overview of the whole document before you start editing in detail is to style the headings first. (It’s also all too easy to miss mistakes in headings when you’re immersed in the main text.)

4. Clean up the text.

Assessing the text (see tip 3) will have given you a good idea of the tasks that can be batched and automated. Lots of editors choose to run PerfectIt at the start of a job, for example, to highlight inconsistencies. Macros (such as those by CIEP member Paul Beverley) can also help you identify things that need editing, and make the necessary changes more efficiently. Cleaning up the text before you start the language editing can help you focus on flow and readability with fewer distractions.

5. Build a style sheet.

One of the key tasks of a copyeditor (aside from actually editing the text) is compiling a style sheet – either starting from scratch, or adding to the one supplied with the job. This helps you as you progress through the edit, providing a point of reference for all the editorial decisions you make. It also helps the client, and eventually the proofreader, so they can understand your working and hopefully won’t arbitrarily undo your editorial decisions.

6. Consider working on the references first.

If the document you’re editing has a lot of references (and it might not!), it can help to work on these first. There are several reasons for this. First, this is another way of gaining insight into the main text before you start to read and edit it in earnest. Second, the references need to be consistent, so editing them all together can be more effective than dealing with them as they arise in relation to the main text. Finally, they can take a surprisingly long time to sort out, especially if you need to check them for accuracy and tidy up formatting. If you’ve got them sorted before you start the main bulk of the editing, you don’t need to worry about spending an unexpectedly long time on them at the end of the job.

7. Work through the text in order.

Although I know plenty of copyeditors who adore references (!), for me this is the fun part. Read through the whole of the text, and make edits as you go to ensure it is consistent, clear and accurate – as in tip 2. It’s a skilful balance between knowing when to leave things alone, and when to tweak things to improve the flow of a sentence, or to help the author express themselves more effectively. Question (almost) everything – but don’t spend too long doing it.

Some questions arise: What is the copyeditor’s responsibility, and what is not? How many times should the copyeditor read the text? The answer is usually ‘it depends’ – on the brief, on the budget, and on the schedule. Keep track changes switched on (unless your client’s specified otherwise), and be careful not to change the meaning of the text. If something’s ambiguous, query it. If a change is unarguable, and can be justified, go for it with confidence. You’ve been hired for your expertise, and your ability to interpret the client’s needs.

8. Query sensibly and clearly.

How you present your queries might be specified in the brief. You might write them as comments on the Word document, or as a separate list, or both. However you present them, try to ensure they are worded clearly, and politely. It can be tricky knowing what to query, but generally you will want to defer to the author on matters of fact or content that you can’t easily check and verify. If a meaning isn’t clear, this will also need to be queried. You might also flag up editorial changes where they deviate from the author’s preferred style to explain why you did something (such as changing gendered pronouns in favour of singular they/their). For more about querying, see the CIEP’s fact sheet.

9. Carry out a final check for consistency.

Many editors run PerfectIt again at this stage, which can help you weed out straggling inconsistencies. But how many times should you actually read the text? If I’m being paid enough, I read everything twice. Once for the edit, then once to check over what I’ve done. I often find things to improve on this second pass. However, if there isn’t the time or the budget to support an entire second read, I would certainly check over all my corrections to make sure I haven’t introduced typos or other inaccuracies.

Also, check your queries. By the time you finish editing, you might find that some of the answers are clear and don’t need to be referred back to the author.

10. Return the edited document(s) with care.

Don’t rush the return: get things in order, check the brief again to make sure you’ve dealt with everything, and make sure your covering email is informative and clear. As well as the edited text, send your queries and style sheet. Let the client know they can ask you if they have any questions about what you’ve done. Once you’ve submitted everything, invoice promptly, put the kettle on and look forward to the next copyedit! All jobs are different, but your confidence and efficiency will increase with each one.

 

Liz Jones has been an editor since 1998, and freelance since 2008. She specialises in copyediting and proofreading non-fiction, specialising in architecture, art and other practical subjects, as well as highly technical material. She is one of the CIEP’s information team, and is also a mentor in proofreading and copyediting.

 


Photo credits: Getting ready – Johny vino; planning – Glenn Carstens-Peters, both on Unsplash

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

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

Dealing with imposter syndrome

By Lisa de Caux

The Manchester CIEP local group meets every three months, and chooses a discussion topic in advance. ‘How to deal with self-doubt, lack of confidence and imposter syndrome’ was a very popular topic with those who attended the January 2020 meeting.

The Oxford English Dictionary defines imposter syndrome as ‘The persistent inability to believe that one’s success is deserved or has been legitimately achieved as a result of one’s own efforts or skills’. Meanwhile, googling ‘imposter syndrome’ brings up more than three million search results. And a quick survey of the CIEP’s forums reveals that it’s a problem familiar to many editors.

I posted on LinkedIn ahead of the meeting to elicit thoughts on #ImposterSyndrome. I had a fantastic response, and people were so willing to share their experiences, just as they were later in person. We had a lively and engaged meeting – we all had stories to share, from the newbies among us to more experienced members.

This post covers what came out of that meeting, focusing on imposter syndrome and editorial professionals. I’ve included a list of helpful resources at the end.

What is imposter syndrome?

I’ve shared the dictionary definition, but let’s talk about it in a less formal way. It’s the feeling that ‘I’m not good/qualified enough’. It’s about self-doubt and lack of confidence. We set ourselves exacting standards as we work on clients’ projects, and this tends to carry through into the standards we set for ourselves and our businesses. You don’t want to feel as though you haven’t met your own expectations.

Most of the people at our meeting were freelancers, so we concentrated on this area. As a freelancer, especially working from home on your own, you can experience feelings of isolation. While one of the benefits of being a freelancer is a lack of structure, which allows self-direction and taking control of your business, the flip side of this is there is no one to automatically check in with you. When you’re an employee, you have appraisals and regular meetings with your manager to provide validation, and you have conversations with colleagues about questions and minor hiccups while making a cup of tea. As a freelancer, there is no built-in interaction with people – you must build it yourself. It’s one of the reasons the CIEP’s forums are so popular – they provide a chance to talk to others who understand where you are coming from.

The CIEP has a newbies forum, where I posted about imposter syndrome after our meeting. It struck a chord with a lot of members. While imposter syndrome may be more common for newbies, it can come back in waves for more experienced professionals. As we moved through our meeting, we talked about how imposter syndrome might be triggered by changing your business’s direction (for example, moving from non-fiction to fiction) or by taking the next step professionally (for example, upgrading to a higher level of CIEP membership). Instead of taking pride in your achievement, you may feel anxiety in case people think that standards must have dropped for you to have succeeded. When something new and unexpected happens, you may feel that you *should* have known. Then imposter syndrome builds up and you discount your experience.

Recognising it

Whether you’re a newbie or an experienced editor, imposter syndrome reflects the level of stretch you’re going through and how far out of your comfort zone you are. We all agreed that it’s particularly important to acknowledge this feeling if it starts to take over more of your thoughts. It can impact your mental health, and then you need to take action. We talked about the practical impact of imposter syndrome too – for example, the knock-on effect on the way you quote for work. Imposter syndrome can encourage you to be apologetic about raising rates, especially for existing clients. Whether you’re thinking about your mental health or the practical impact, a strategy to cope with imposter syndrome needs to be found.

Overcoming imposter syndrome

The group suggested lots of ideas. Some come from external support (for instance, talking to people) and some are internal support mechanisms (like creating a win jar). What suits one person won’t necessarily suit another. Call it what you will – this is an individual demon/monster/battle to face.

We recognised that, as a newbie, you have less experience and less chance of positive feedback to turn to. At this stage, talking to people is so important. Then, as you complete more projects, you will, hopefully, receive good feedback. An even better weapon against imposter syndrome is repeat work. It’s a real vote of confidence in your service. Although experience brings great benefits, we spent a lot of time talking about coping strategies that are useful to all.

Coping strategies

You can record positive feedback in a notebook, a ‘sunshine file’ or a ‘win jar’. You could have a gratitude journal. It’s so useful to have tools that you can constantly keep updated. A ‘win jar’ is a jar you keep on your desk, where you leave positive feedback (for instance, a complimentary email). If you feel like you need it, reach in and pull out a win to read. A sunshine file is a similar concept. Since our meeting, I’ve created a Word document where I save screen shots of positive feedback.

Another way to cope is to understand the value that you provide – not everyone can do what you do. How do you track improvements over time? What experience and training do you have? When you’ve found a typo or factual error, what impact would it have had on the document if you hadn’t found it? Keep track of these achievements!

At the meeting, we were keen to embrace talking to friends and colleagues – CIEP local groups and forums really come into their own here. Attending face-to-face courses or professional development days can provide reassurance about what you do know.

Finally, our conversation moved gently into the positive side of self-doubt. A little (in moderation) will keep you learning and trying harder. It will improve your business. It may lead to a particular type of training. I was surprised to discover that a long course (like the PTC proofreading course) is not completed by everyone who signs up for it. Completing training acts as a confidence boost!

There’s such a lot to think about – at the end of the discussion, we were all ready for our mid-meeting comfort break.

You are not alone

I’ve focused on the editorial profession, but imposter syndrome does not have industry boundaries and it does not respect your level of experience. I recently caught up with a friend who’s an oncology consultant. I explained about writing this blog and asked if she’d come across imposter syndrome. She smiled in recognition – yes, she often feels it and often talks about it with her medical colleagues.

Every conversation gives me the clear message: you are not alone.

A lot of us are going through it, including the people you assume are absolutely fine. You can find a coping strategy that suits you. My own battle with imposter syndrome will continue, I’m sure. If you’re battling too, I wish you the very best!

Helpful articles and blogs

Mental Health Today: Imposter syndrome
Northern Editorial: Time to kill the monster
KT Editing: Imposter syndrome and editing
The Avid Doer: Imposter syndrome: Intuition in disguise?
Harvard Business Review: Overcoming imposter syndrome
Louise Harnby: I’m a newbie proofreader – should I charge a lower fee?

 

 Lisa de Caux is a CIEP Intermediate Member and coordinator of the Manchester CIEP local group. She specialises in editing and proofreading for business. Lisa is a career changer, and spent many years as a chartered accountant before becoming a proofreader.

 


Face-to-face interaction with peers can help with imposter syndrome and provide a great boost to confidence and motivation. A recent blog post covered upcoming in-person CPD, and the CIEP’s local groups meet regularly. (And don’t forget that booking for the first CIEP conference opens later this month!)


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

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

From terrified to trainer

By Cathy Tingle

I never planned to be a trainer. I hate speaking in public. My voice is soft and I’m prone to saying ‘um’ and ‘er’ as I struggle to articulate my thoughts. When I get going, I trip over my words. I certainly don’t have what you would call the gift of the gab.

As part of my job, I’d run a couple of courses years ago, fuelled by youth and, I don’t know, luck. Since then, I’d been made redundant, moved city, had kids, and lost confidence the way you do when you’re at home all day interacting with small children and a screen.

So imagine my feelings when I received an email in August 2018 from Margaret Aherne suggesting I take over two of her copyediting courses.

If you’ve not been on one, Margaret’s courses are a treat. Her Publishing Scotland ‘Welcome to’ and ‘Further’ courses in copyediting and proofreading were exactly what I needed as I started out in editing in 2014. She was clearly an expert, vastly experienced, but hilarious with an endearing nerdy slant (keen on steam trains, bus shelters, that sort of thing). Her exercises were masterful – thought through and clever. I signed up for all her Edinburgh courses. Afterwards, we kept in touch by email, and I was secretly hoping she’d write a new course I could attend.

Taking up the mantle

But it wasn’t to be. Family and health stuff meant that Margaret couldn’t make the trip (always by her beloved train) from Bristol to Edinburgh any more. So, did I fancy taking on her Publishing Scotland copyediting courses? Denise Cowle would be running the proofreading ones.

Me? She must have confused me with someone else, or mistaken my shiny-eyed interest (I was a bit of a Margaret groupie) for training ability. But … what an opportunity. I replied with an update on my work and what training I’d run before, adding: ‘I do feel very green and inexperienced compared to you!’ It didn’t seem to put her off and we arranged a meeting.

In the meantime, I almost bottled it. One evening it became crystal clear. What I was I thinking? I could barely string a sentence together with my own family, let alone a set of delegates. I’d never manage Denise’s capable, clear and confident delivery (for I had checked her out on YouTube talking about semicolons). I’d email Margaret and tell her I couldn’t do it. And I did. She was incredibly understanding but gave me the night to think about it and the chance to confirm my decision in the morning.

In the morning, I felt … OK. Still a bit scared, but all right. So it was on again, and I met Margaret a few weeks later in Glasgow, where she talked me through the content of the course and assured me she’d give me advice and guidance whenever I needed it. I hugged her goodbye. It felt like I had been anointed.

Five steps

And so began the long countdown (of around six months) to delivering my first day-long course. What did I do to prepare? Here are my tips for going from terrified to trainer.

  1. Familiarise yourself with the content. Nothing makes you confident like knowing your stuff. So I made sure I was completely au fait with everything in the course. I looked out for extra examples and other material that could augment the learning points. Becoming familiar with the content also involves anticipating questions. The course included a section on grammar and punctuation. What if the delegates asked hard questions at that point? Time to raise my game. When the opportunity arose, I volunteered to take over ‘A Finer Point’ in Editing Matters from Luke Finley.
  2. Read a book. Sounds like a cop-out, doesn’t it? But it will give you a chance to get your thoughts in order. It will also make you realise that your situation is far from unique. I read How to Own the Room by Viv Groskop, which contains case studies of well-known women speaking in public. The book told me: ‘You can’t get around fear. You can only go through it. And the way to go through it is to speak in public and get more used to it.’ Argh. Was there no other way?
  3. Talk to an experienced trainer. I went to see someone my sister knew who had decades of training experience. He gave me some great ideas for icebreakers and tips for dealing with questions. He also pointed out that nerves are a bit of vanity, aren’t they? The day’s not about you. Above all, though, he listened to my concerns, was encouraging, and told me the story of when he found himself dry heaving from nerves in the toilets of No 10 Downing Street before running a training session. So.
  4. Practise. Viv Groskop said it. The best way to feel better about the whole thing was to do it, or a version of it. So I put myself on the rota of people that give the welcome and notices at church, to get used to being confronted with expectant faces and hearing the sound of my own voice. The most useful experience was when I didn’t realise I was down for one Sunday, turned up as the service started and was told: ‘Thank goodness you’re here! We didn’t think you were coming!’ So I had to get a lightning brief and just go out there and do it. My slightly breathless delivery, some of it on the verge of giggles, was complimented. Coming across as human obviously worked.
  5. Make the takeaways good. I wasn’t kidding myself that the delegates would hold on to my every word, and I wanted to relieve a little of the pressure on my performance, so I made sure that there was an exhaustive resources list and prepared a ‘keep in touch’ sheet so I could email everyone with the presentation. This would also be useful as a vehicle for answering any questions that completely stumped me. I could say, ‘I can’t answer that now, but I’ll look it up and let you all know’.

And that was all I could do in the time I had. I was still nervous on the day. I always am. I’ve done three training courses now – two whole days and a half (with Denise running the other half) – but the more training I do, the more I enjoy it. After coming home from the first day-long course I had to have a lie down; the second time I went out in the evening. So it must be getting easier. Comments from the delegates have been positive. One made me laugh: ‘Cathy is nice and quite funny’. Only ‘quite’! Looks like I still have a way to go before I’m a Margaret.

Cathy TingleCathy Tingle is an SfEP Advanced Professional Member, based in Edinburgh. Her business, DocEditor, specialises in non-fiction editing. She runs ‘Introduction to Copy-editing’ and the copyediting section of ‘Further Copy-editing and Proofreading’ for Publishing Scotland. Like Denise Cowle’s ‘Introduction to Proofreading’ course for Publishing Scotland, both courses attract three SfEP upgrade points and are offered at a discounted rate for SfEP members.


In March 2020, the SfEP will become the Chartered Institute of Editing and Proofreading (CIEP), and the CIEP’s first annual conference will take place at Kents Hill Park, a purpose-built conference and training centre in Milton Keynes, on 12–14 September.

The provisional programme will be released before booking opens in March, and will feature a mix of high-quality workshops and seminars on various aspects of editing and proofreading, as well as running your own business and developments in the publishing world. If you would like to suggest a topic or speaker (it could even be you!), contact the conference director as soon as possible (conference@sfep.org.uk).


Photo credits: laptop on table Patrick Robert Doyle; chairs and flipchart Kovah, both on Unsplash.

Proofread by Alice McBrearty, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

 

Face-to-face CPD in 2020

CPD is a critical part of every editor and proofreader’s year. There is now a vast array of online courses available, but there really is nothing like being in a room, talking with and learning from peers and experts. Here are some possible face-to-face CPD (and networking) events that you could invest in in 2020.

Conferences

SfEP CIEP 2020

The SfEP conference has been a mainstay of many editors’ calendars for years – this year will be the first ever Chartered Institute of Editing and Proofreading conference, which is bound to be packed full of informative and challenging sessions and learning opportunities, just like the 30 SfEP conferences that preceded it. Booking will open in March.

www.sfep.org.uk/networking/conferences/
Dates: 12–14 September 2020
Location: Kents Hill Park, Milton Keynes

ACES 2020

The 24th annual national conference of ACES, the Society for Editing, has sessions on developing a quality editorial process, the gift of imperfection, editing memoir, diverse content, thinking like a linguist, and editor health and self-care (including a mile-long #StetWalk!). Registration is open now, and spaces are filling up.

https://aceseditors.org/conference/2020
Dates: 30 April–2 May 2020
Location: Hilton Salt Lake City Center Hotel, Salt Lake City, UT

EDITORS20 / RÉVISEURS20 / CORRECTORES20

Editors Canada hosts the International Editors Conference this year, which offers three days of seminars, workshops and keynotes on the theme of ‘From Papyrus to Pixels: International Editing Trends’. Registration is open now, with earlybird rates in place until April.

www.editors.ca/professional-development/conference/international-editors-conference-2020
Dates: 19–21 June 2020
Location: Le Centre Sheraton Montreal, Montreal, QC

METM20

The Mediterranean Editors and Translators Meeting (METM) offers three days of presentations and keynote speeches, workshops and ‘Off-METM’ events for editors, translators, interpreters and other providers of English-language support services, this year on the theme of ‘The Style Issue’. Registration begins in late spring, and is open to members a week ahead of everyone else.

www.metmeetings.org/en/presentation:1265
Dates: 15–17 October 2020
Location: Olarain University Hall of Residence, Donostia/San Sebastián, Spain

IPEd Conference 2021

Okay, yes, this one isn’t until 2021 (as IPEd holds its conference every two years), but if you don’t live in Australia, you’re going to need that extra bit of time to save your pennies! The theme is ‘Editing on the Edges’, inspired by Hobart’s geographic location and the fact that editors are always dealing with edges, whether they be geographic, demographic, technological or ethical.

https://iped2021.org.au/
Dates: 28–30 June 2021
Location: Hobart Grand Chancellor, Hobart, TAS

Book fairs

London Book Fair

This year’s London Book Fair has over 200 sessions planned covering 11 dedicated seminar streams, including Authors: Central to our Business, and People Development: Re-skilling our Industry. Hundreds of publishers – and of course the CIEP – will be in the exhibitors hall. Tickets available now.

www.londonbookfair.co.uk/
Dates: 10–12 March 2020
Location: Olympia London, Kensington, London

Frankfurter Buchmesse

2019’s Frankfurt Book Fair was the biggest ever with nearly 7,500 exhibitors – we’ve got to assume that 2020’s fair is going to be larger yet. There isn’t much information about the 2020 event available at the time of writing, but it looks like a great place ‘to exchange ideas, be inspired, try out new technologies and cultivate contacts’. Tickets on sale from April (private visitors) and June (trade visitors).

www.buchmesse.de/en
Dates: 14–18 October 2020
Location: Messegelände, Frankfurt am Main

Workshops and courses

In the UK, the SfEP continues to offer its Introductions to Proofreading and Copyediting as one-day workshops, and usually hosts a different one-day workshop on the day before its conference starts. Local SfEP groups can work together with the SfEP office to organise workshops on other topics. The Society also offers bespoke in-house courses for companies and organisations.

The Publishing Training Centre has 21 classroom-based courses in its schedule for 2020, covering core publishing skills, project planning and management , strategy and list building, professional development and marketing.

SfEP local groups

And no summary of face-to-face CPD would be complete without a mention of the SfEP’s local groups – meetings offer a great way to share knowledge and experience (and often also tasty food and beverages).


Photo credits – all SfEP, taken at the 2019 SfEP annual conference.

Proofread by Victoria Hunt, Intermediate Member.
Compiled and posted by Abi Saffrey, SfEP blog coordinator.

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

Not just fun and games: the CPD of escape rooms

By Julia Sandford-Cooke

You might think I’m just a meek and unassuming editor, but I have a secret identity. When I’m not correcting content, I may be stealing diamonds, exploring Egyptian tombs, solving crimes or perhaps even saving the world (twice from a renegade sheep). Despite my reputation for remaining calm under pressure, I have been known to scream, ‘Why are you just standing there? We only have three minutes to defuse the bomb!’

Yes, I’m an escape room enthusiast. Bear with me because the link to continuing professional development (CPD) isn’t as tenuous as you might think. After 20 years as an editor, I’m still committed to learning but I’ve completed most relevant courses at least once, so have begun to seek out new ways to build and apply my skills. After all, we editorial professionals don’t just spend our days correcting grammar and swearing at Microsoft Word – we also practise problem solving, time management, team working and lateral thinking. And all these skills are tested and strengthened in escape rooms.

What is an escape room?

Basically, you and your team of two to about seven people enter a room to solve puzzles relating to a particular theme or story within a set amount time (usually an hour but, increasingly, 90 minutes). In fact, ‘escape room’ is rather a misleading term. It’s really more about escapism than escaping. Although you may need to find a way out of a setting like a prison or cabin within the time limit, instead you could solve a crime, find a relic, save a pirate ship or pass all your wizarding exams. Sometimes the challenge is just collecting as many toy cats as you can. You won’t actually be locked in (I believe that’s illegal) and, in fact, many rooms allow you to leave at any time – but what would be the fun of that? I won’t spoil your future games by describing the puzzles you’ll encounter in detail but they may involve matching words, spotting inconsistences, identifying patterns, remembering sequences, cracking codes, finding pieces of a jigsaw and completing it, or something more physical, such as shooting foam bullets at a target. Typically, you’ll need to identify a numeric sequence or locate a key for a padlock. It’s seen as bad form to require external general knowledge (that’s what pub quizzes are for) so, as long as you know simple maths and the alphabet, you’ll be able to make a start. If you get stuck, your games master, who monitors you on CCTV, can provide a hint.

Most escape rooms are aimed at adults but switched-on kids aged over eight or so often excel as part of a grown-up team, as long as the theme isn’t too scary – my 11-year-old escape room veteran refuses to do any rooms relating to Egyptian mummies, zombies or school detentions. As for the rooms themselves, some are charmingly homemade, some are slickly mechanised and some have amazing movie-quality sets but all require players to accept the scenario in which they find themselves and work together to achieve a mutually beneficial outcome. Can you see the parallels with publishing yet?

Julia and her husband test a virtual reality game at ERIC. Photo by Guy Wah Photography.

Take my nearest venue, Fakenham Escape Rooms. In this game, we have been employed by the International Rescue Corps to complete the work of a missing professor who had been working on new technology that predicts the time and location of natural disasters. Our mission is to find his research and coordinate our findings to discover where and when the next disaster will be. It’s a fun, immersive room and, as it happens, we were top of the leader board for six months until some professional escapologists (pah!) completed it slightly quicker. It’s the taking part that counts – but beating other teams does motivate competitive players like me. The owners subsequently asked us to test their new room before it officially opened, and listened to our constructive feedback on the experience, a bit like a physical version of proofreading.

It’s all about teamwork

So, what makes a good escape room team? Well, I’ve edited enough business books to be intimately acquainted with the Belbin team roles, and have played enough escape rooms to know that combining people with different skills is going to get the job done quicker and better. For example, my daughter has a mind like a trap and is good at finding hidden items. My programmer husband can apply logic to any situation, and I delegate all the maths puzzles to him. Some of the friends I’ve played with are efficient, organised and focused. Others are highly creative or have an in-depth knowledge of binary. As for me, when I asked for feedback on my performance, Team-mate 1 (my daughter) said I’m quick to make connections between different elements and Team-mate 2 (my husband), after some thought, said I’m better at reading than he is. Our greatest triumphs have been a result of focusing on the goal, clear communication and mutual respect for each other’s abilities. All of which are ingredients for successfully managing any project.

Benefiting more than just me

I’ve attended two excellent conferences this year. One was (naturally) the SfEP conference at Aston University. The other was the amusingly named ERIC – the Escape Room Industry Conference in glamorous Dagenham. Covering everything from game theory to marketing, with a little acting thrown in, it was the most enjoyable small-business foundation course that you can imagine. I came home brimming with ideas for developing my own editing business (‘escape rooms’ now features as a key word in my SfEP Directory entry – puzzle tester for hire). As a textbook specialist, I’d love to look at ways of engaging learners via puzzles and for improving testing methods such as those tricky multiple-choice questions that authors always struggle to perfect.

What’s more, while I’m not quite ready to open my own escape room (watch this space), I made a contact at ERIC which has resulted in another exciting new project. I’ve joined forces with my local library to coordinate a treasure trail for teams of Key Stage 2 pupils (9 to 11 year olds) in which they have to use the library facilities to tackle puzzles and act out a narrative – hopefully developing their literacy and problem-solving skills, and their enthusiasm for libraries, in the process.

Try it for yourself

There are now about 1,500 escape rooms in the UK, and maybe 20,000 in the world, so there’s likely to be at least one near you. Some are inevitably better than others – read reviews before you go to gain an idea of quality because it’s admittedly not a cheap hobby. The typical cost is around £20 per person, and it can be even more expensive if (as a purely hypothetical example, of course) you choose to celebrate 20 years with your husband by travelling to Margate to play five games over two days (Kent being the unlikely escape-room capital of the UK). It’s still cheaper than formal training as well as fun, educational and a welcome break from those ubiquitous screens.

Excuse me, I’m just off to Google ‘Milton Keynes escape rooms’. If you want to join my team for some extra escapist CPD while we’re in town for the 2020 CIEP conference, let me know!

Julia Sandford-CookeJulia Sandford-Cooke of WordFire Communications has 20 years’ experience of publishing and marketing. She has written and edited numerous textbooks, specialising in vocational education, media studies, construction, health and safety, and travel. In her spare time, she’s a pirate, spy and astronaut.

 


Thinking about your CPD plans for 2020? The SfEP offers a wide variety of courses, and more informal CPD is available through its members’ forums and local groups.


Photo credits: Sheep Jonathan Poncelet, Escape Rooms sign – Zachary Keimig, both on Unsplash; Julia and her husband testing a virtual reality game at ERIC Guy Wah Photography.

Proofread by Emma Easy, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

My first mini-conference: Toronto 2019

By Cat London

Reentering the professional world after being in the trenches as the primary caregiver to young children for eight and a half years is a bit like coming out of a cinema after a daytime movie: you emerge, blinking, surprised to find that the sun is shining and the parking lot is full of cars. Well, the analogy may not be perfect, but as my youngest child approaches three, returning to in-person professional development and finding new opportunities to meet and learn from my colleagues after being focused on my work and my kids has been a pleasure I had not anticipated.

Having recently joined the SfEP, I decided to attend the Toronto mini-conference and so I took a train to my onetime hometown of Toronto. I wasn’t able to attend the pre-conference workshop, led by Dr Malini Devadas, a neuroscientist, editor and coach, but I was fortunate to get an abridged version via Cloud Club a couple of days earlier. Malini, having just arrived from Australia, took the time to answer questions about changing your mindset to increase your income, and to talk about confidence, rates, efficiency and marketing. Her thoughts were very useful to me as I have been starting to think about what my business will look like going forward when my son begins at school.

I have been editing from home in yoga pants for so long that I was quite nervous about being in a room full of talented colleagues and learning from such luminaries as Paul Beverley and Jennifer Glossop. I wasn’t 100% sure I remembered how to talk to actual grownups face to face. However, the organisers and volunteers were so kind and welcoming, the space so full of natural light and the attendees’ conversation so interesting that I quickly felt at ease and excited for the day.

Paul Beverley, the famed Word Macro Man, had flown from the UK to talk to the group about Word macros. He demonstrated some of the huge array of tools he has created and gives away at no charge, with instructions on how to put them to best use. I use a couple of macros regularly, but during Paul’s session I was reminded of how much time I can save every day by mastering macros at a greater depth. I have thus far ignored his DocAlyse and other analysis macros, but have now realised how badly I need them! I also hadn’t realised that there’s a macro that can change the screen background colour according to whether Track Changes is on or off. If you’ve ever had to redo work because you hadn’t tracked the changes (hand up!) you’ll realise how exciting this is. During the break, Paul took the time to look at a macro I had been having trouble with, and even emailed me the next day with follow-up suggestions. Janet MacMillan, one of the organisers of the mini-conference, had mentioned to me several times how kind and giving the general culture of the SfEP is, and Paul is the perfect case in point.

After Paul, we heard from Jennifer Glossop, a Canadian fiction editor I hold in esteem bordering on awe. Jennifer has been working in publishing for over four decades and has edited such authors as Margaret Atwood, David Suzuki and Tim Wynne-Jones. Books she has edited have won or been nominated for many awards, including the Governor General’s Award and the Giller. Jennifer talked about ‘finding the missing parts in a narrative’, about how cutting what is too long is sometimes a simpler task than knowing what is not there and how to put it in. We talked about how to find what might be missing in the areas of plot, character and senses, including missing or offstage scenes, missing emotions, and gaps in timelines. I could write a whole blog post on Jennifer’s thoughts on consequences and how they can work forward and backward in a book (a scene can have consequences down the road or be caused by something that has already happened); the conversation gave me new tools for how to handle some of the challenges I have met in books I have edited, and new ways to explain some of these ideas to authors.

Erin Brenner, an editor from the US with more than 20 years’ experience, titled her session ‘Copyediting 2.0: Editing in the Age of “Post It Now or Lose Your Audience”’, and her talk left me wincing. Not because it wasn’t excellent – it was – but because she helped me realise how many tools and tasks I’ve been ignoring because I’ve been ‘too busy to work smarter’. Erin talked about how easy it is to procrastinate or disregard important tasks like reviewing style guides and finding ways to speed up your work using tools such as PhraseExpander, shortcuts and even the simple yet noble sticky note, as well as how to triage when you don’t have enough time to do everything you would like to do to a document.

Heather Ebbs, a Canadian indexer, writer, editor and teacher, gave me insight into something I knew almost nothing about: indexes. As she put it, ‘indexes are about aboutness’ and it was fascinating to learn more about how indexers work and how to do a better job when tasked with editing an index. When the session ended, I felt a profound sense of certainty that I could never be an indexer, and a more profound sense of gratitude for the professionals who have the skills and experience to do this job with expertise.

Amy Schneider, an editor who has worked on all kinds of books and other projects since 1995, came from the US as well. Her talk, about customising your workspace with templates, dovetailed with Erin’s and reminded me once again that there are many ways to work an awful lot smarter instead of harder, and that it’s time to plunge into them. Amy showed how she uses templates for her work – changing documents to screen-optimised fonts and ensuring that different styles stand out so they can be better edited more quickly – but more importantly she showed us how to take that information and apply it to just about any project and work style.

The sessions ended with a Q&A with all the speakers. The theme that emerged from the day was clearly how to work smarter and more efficiently. Erin challenged us all to do better when it comes to efficiency, and I’m told Malini’s workshop the previous day challenged attendees to pick one thing and do it. So, here I am, publicly pledging that I will be setting up the DocAlyse macro and getting to know it (and maybe HyphenAlyse and ProperNounAlyse) this week.

The conference organisers were like ninjas, or perhaps wizards, conjuring trays of fresh food and pots of hot coffee into convenient locations at regular intervals. Each aspect of delegate attendance was handled thoughtfully, from pronoun stickers to a policy for immunocompromised attendees, to ensure that everyone felt comfortable. There were opportunities to get tech help from Paul Beverley and to learn more about Queen’s University Professional Studies from talented editor Corina Koch MacLeod, who is an educational designer with Queen’s. I don’t want to write an uncritical review, so I’ve been trying hard to come up with something negative to say about the day. I suppose next year it would be nice if organisers could arrange for the weather to be a bit warmer. After the conference we retired to a pub across the street, from which I was sorry to have to dash for the train.

I’m grateful to the organising team of Maya Berger, Kelly Lamb, Janet MacMillan and Rachel Small for bringing together such a welcoming, international group of supportive, interesting and generally lovely people for a day of learning. It was the perfect way to return to in-person professional development, and no one asked me for a snack or told me that their brother was hitting them. I hope to be able to attend some of the SfEP Toronto group meetings in the future, and I am looking forward to next year’s mini-conference.

Cat London recently joined the SfEP as a Provisional Advanced Professional Member. She does developmental editing, copyediting and proofreading of fiction and non-fiction, primarily for publishing companies, and also works as a photographer. A certified copyeditor through Editors Canada, Cat has edited a great deal of gritty fiction and maintains an extensive library of style sheets cataloguing various slang, expletives and obscenities. She lives in Kingston, Ontario, Canada, with her husband, dog and altogether too many children.


Coming up in 2020:

  • The SfEP’s local groups will meet regularly throughout 2020 have a look at the calendar.
  • The next annual SfEP conference will be at Kents Park Hill, Milton Keynes, 1214 September 2020 booking will open in spring 2020.

Photo credits: SfEP notebook – Cat London; Toronto skyline – Richard Kidger on Unsplash.

Proofread by Victoria Hunt, Intermediate Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

 

 

 

 

 

Plain English: new resources for editors

By Laura Ripper and Luke Finley

Are you thinking of adding plain-English editing to your services? Perhaps you have done so already, and you’d like to promote your service to more clients. Maybe you work in-house for an organisation that uses plain English, editing your colleagues’ writing. Or perhaps you’ve been hearing more about this thing known as ‘plain English’ lately, and you want to find out what it’s all about.

If that sounds like you, you might be interested in two new resources:

Using plain English (also known as plain language) helps organisations fulfil their purpose, whether it’s to make a difference in society or to make a profit for shareholders. Organisations in the public sector have a responsibility to communicate clearly so that people can use public services, understand how decisions affect them and take part in public life. Researchers write plain-English summaries to make academic knowledge accessible to more people. And private companies use plain English as a marketing tool and to save time and money on sorting out misunderstandings.

As more organisations see the advantages of using plain English, more of them are working with language professionals to make sure their documents are genuinely easy to read, use and understand. And more editors are working outside traditional publishing for the kinds of clients who want support with plain English, either as well as or in place of a ‘standard’ edit.

Plain English is about much more than word choice and sentence length; anyone who provides plain-English support needs to know about all the guidelines, techniques and tools and when to use them. Most importantly, they need to use them in a balanced and nuanced way. That puts editors, who are experienced in considering the finer points of language use as well as the wider context, in a good position to help.

If you want to find out about the basics of plain-English editing, the updated guide is a helpful introduction to what’s involved. If you want to learn more and gain some practice, the new course will help you to build on the skills you already have and use them in the context of plain English.

Editing into Plain English guide

We’ve updated the original SfEP guide on plain English, written by Sarah Carr, to reflect how the market has changed since it was first published.

What does it cover?

The guide is an introduction to plain-English editing. It includes information about:

  • What plain English is, and what it isn’t.
  • Evidence for the benefits of using plain English.
  • Training and qualifications.
  • Plain-English services you could provide, and how to price them.
  • Marketing your services and finding clients.
  • Working with clients in practice, especially non-publishers.
  • Software that can help.
  • Useful resources.

What’s changed since the first edition?

We’ve updated the guide throughout, but in particular you’ll find new information on:

  • Recent developments in plain English around the world, and which sectors are using it.
  • How plain English benefits business clients.
  • Ways to market your services and find clients.
  • What to consider when discussing a project with a client.
  • Resources and further reading.

Plain English for Editors online course

This new course looks at plain English from the perspective of editing. It explains how to use widely accepted guidelines to improve text that has already been written, and looks at the challenges involved.

Who is it for?

The course is for you if you:

  • Already provide plain-English services and want to develop your skills.
  • Want to branch out into providing plain-English services.
  • Want to use plain-English techniques as part of your other editing services.
  • Work in-house and edit colleagues’ writing.

What does it cover?

This course aims to explain what plain English is, give you the skills to use guidelines on plain-English editing with thought and care, and develop your understanding of how to market your services and deal with challenges. It covers:

  • What plain English is, and what it’s for.
  • The history of the plain-English ‘movement’ and more recent developments in uses and thinking.
  • Six main guidelines for plain-English editing, from word choice to layout.
  • Tools in Word and other software that can help, and the pitfalls to watch out for.
  • The practicalities of plain English editing – working with clients, dealing with misconceptions and challenging texts, and marketing your services.

The course gives you plenty of practice in using the guidelines with careful judgement, considering the context, the reader’s needs and the client’s needs. This helps you to develop the skills needed to genuinely improve clarity and ease of reading, rather than applying a set of ‘rules’ that simply tick a box.

In short, if you’re an editor offering plain-English services – or hoping to do so in future – these two resources will make an essential contribution to your continuing professional development (CPD). And if you’re a client or commissioner of editing services, and making your copy clear and easily understood is one of your priorities, you can be confident that any editor who draws on these resources is well equipped to help you achieve this.


Laura Ripper is a self-employed copy-editor and an Advanced Professional Member of the SfEP. She started out at Plain English Campaign in 2004, editing documents for private companies and public-sector organisations. After that she joined Foundations and then Digital Outreach – companies that worked with charities on behalf of the UK government. As an editor, she helped these companies communicate clearly with various audiences. She has also taught English as a foreign language in Russia and China. She has co-written the SfEP online course Plain English for Editors and the SfEP guide Editing into Plain English.

Luke Finley set up Luke Finley Editorial in 2013/14 and is an Advanced Professional Member of the SfEP. Most of his working life until 2014 was spent in the voluntary and public sectors, which gave him a keen interest in plain English and trying to persuade people to communciate more clearly. He also wrote and delivered various kinds of training. As an editor, he has presented on plain English at two SfEP conferences and is the co-author of (with Laura Ripper) the SfEP online course Plain English for Editors and (with Laura Ripper and Sarah Carr) the SfEP guide Editing into Plain English.


Head to the SfEP website to sign up for the Plain English for Editors course and to buy the Editing into Plain English guide.


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

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

Learn and be inspired: Toronto mini-conference 2019

By Christine Stock

It’s autumn, and with the changing leaves and cooler temperatures, minds return to more work-related things, not least of all training and continuing professional development. Hot on the trail of the successful Society for Editors and Proofreaders (SfEP) Birmingham conference is the Toronto SfEP group’s second mini-conference; a conference international in content, speakers and delegates, on Wednesday 6 November. Jam-packed with international editing superstars, including both speakers and delegates – it’s not one to miss.

New to the schedule this year is a pre-conference workshop to be held on Tuesday 5 November. Dr Malini Devadas (Australia) holds a PhD in neuroscience but loves working with words more than working in a lab. An editor since 2004, Malini has spent a number of years studying marketing and the role mindset plays in gaining clients. Her workshop is ideal for any editor who wants more income, more clients, or both.

Whether you want to gain new skills or simply re-energise, this year’s one-day conference is for you. Leading off the day is the UK’s Paul Beverley (fondly known as Macro Man due to his impressive collection of more than 650 macros). Paul’s ‘marvellous macros’ will save us time and energy, not to mention make us look good. Paul’s tips, which he shares generously and with precise instruction, will provide delegates with a set of tools they can use immediately.

Next up is the renowned Jennifer Glossop (Canada). Jennifer’s impressive editing portfolio includes books that have won the Governor General’s Award and the Crime Writers of Canada Award, as well as those nominated for the Giller Prize and the Books in Canada First Novel Award. With more than 40 years’ experience in publishing, and with an extensive client list that includes Margaret Atwood and David Suzuki, her session on ‘finding the missing parts in a narrative’ is certain to assist both fiction and non-fiction editors alike, whether they are experienced or less experienced.

The afternoon’s presentations will be equally engaging and informative. Erin Brenner (US) will begin the sessions with a discussion on editing efficiently, a goal I’m certain we all have. Erin has been in the publishing industry for more than two decades and has published hundreds of articles and blog posts on writing and editing. Her experience as a writing trainer for communications specialists and her reputation as a highly skilled editor with top-notch professionalism will make her session a game-changer for those wanting time management and other efficiency advice.

Following Erin is Heather Ebbs (Canada), an indexer, writer and editor for nearly 40 years. Heather’s experience as a writer of hundreds of indexes covering a broad range of subjects and styles, as well as her role as instructor (since 2009) of Indexing: Theory and Application at the University of California Berkeley Extension Program, make her the ideal presenter for a session on all things indexing. Heather’s highly anticipated presentation will benefit both editors and indexers (and those who are interested in expanding into indexing).

Next is Amy Schneider (US), a freelance copyeditor and proofreader since 1995. Amy’s vast experience includes working on college textbooks, trade non-fiction, university press books and fiction in a variety of genres. An experienced presenter on editorial topics for numerous associations, including the Editorial Freelancers Association and ACES: The Society for Editing, Amy’s session on customising your workspace with templates promises to be chock-full of helpful takeaways.

My anticipation for the November activities is bolstered by fond memories of the Toronto SfEP group’s first mini-conference, which was held in 2018 and was equally international. I arrived at the beautiful venue eager to learn from the star-studded roster of speakers and left with ideas, tips and knowledge I just couldn’t wait to try out. Additionally, I shared insights, commiserated and joked with quickly made friends and colleagues. I had found my professional family.

This year’s conference and workshop, with the line-up of presenters, spread of delicious food and celebration of the SfEP’s recent chartership announcement, are bound to be a great success. If you’re looking for a reason to hone your skills, learn new tips, find a friendly, inclusive-minded and supportive group of editorial professionals, the conference and the workshop are for you. Presented by co-organisers Maya Berger, Kelly Lamb, Janet MacMillan and Rachel Small, it will be a day to be remembered and celebrated as wordsmiths unite. On behalf of the organisers and the rest of the local Toronto SfEP group, we hope to see you there.


Register for the Toronto mini-conference now!


Christine Stock is a Professional Member of the SfEP. She enjoys hot beverages on cold days and adores all things words and travel. Her editing specialities include fiction and creative non-fiction, and, in 2016, she was nominated for the Rosemary Shipton Award for Excellence in Book Editing provided by Ryerson University (Toronto). She can frequently be found at the corner coffee shop or at the monthly Toronto SfEP meetings.

 


Proofread by Alice McBrearty, Entry-Level Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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

Photo credits: Toronto sign at night Maarten van den Heuvel on Unsplash; Passion led us here – Ian Schneider on Unsplash.

Our SfEP local group – the first decade: ten years, ten observations

By Helen Stevens

In March 2009, on a whim, I contacted a local proofreader I’d come across when nosing around on Yell.com. We met for coffee and chatted about the possibility of starting a local SfEP group, and a couple of months later the first meeting of the West/North Yorkshire SfEP local group took place. Around 20 people came along – an amazing number for an initial gathering!

Having met every three months over the intervening years, in June 2019 we held our 41st local group meeting. Our theme for the meeting was onscreen mark-up (Google Docs, PDFs and Word Track Changes) – not a particularly celebratory topic, perhaps. But a couple of weeks later we got together for an unofficial tenth anniversary social event, enjoying a traditional Yorkshire curry and some more relaxed conversation.

Here are ten things I’ve learned from running the West/North Yorkshire SfEP local group for ten years.

1. There’s always something to talk about

I don’t particularly enjoy face-to-face networking, and I’m no fan of small talk, but when you’re among editors and proofreaders that doesn’t seem to be a problem. Whether you’re a complete newbie or an old hand, you can always chat about training, different types of editing and proofreading work, business issues (particularly if you’re a freelancer), previous work experience, etc. And most people are also happy to answer your questions about such topics, which can add another dimension to your own research in books or on websites.

2. I *can* organise an event

Several years ago I helped to organise a couple of major local events for a client, and I vowed never to do it again (too stressful!). Our local group meetings are kept deliberately low-key, but still require me to book a room at a suitable venue (see below), send out invitations, make sure we have a theme, keep a check on the numbers attending, liaise with the venue and ‘chair’ the meeting. There’s also a little bit of background admin: adding people to my email list and removing them as appropriate (in line with GDPR), notifying the SfEP community director of the date/time of our meetings and so on. This is all well within my comfort zone – and it seems to have worked so far.

3. The venue can be the biggest headache

I’m not talking about the helpfulness of the staff, the quality of the coffee or the hardness of the chairs – although they are significant factors. More importantly, the venue needs to be reasonably accessible (in terms of both transport links and individual mobility), cheap or free to use and of a suitable size for the number of people attending. The acoustics of the place can also be an issue if you’re hoping to have any sort of group discussion.

Our first meeting was in the lovely diner at Salts Mill (very noisy). We’ve since met at a nearby local café (we stopped meeting there when they suddenly wanted a booking deposit), upstairs at a couple of other cafés (one closed down, one could no longer accommodate a large group) and now in a smaller café in Salts Mill that’s reserved for our meeting. I’m not sure there’s such a thing as a perfect venue – the trick is to find one that ticks as many boxes as possible.

4. There isn’t a time/day that will suit everyone

I have to hold my hand up and say that when I started the group, I chose a time (and, indeed, a location) that suited me, but I recognise that our meeting times won’t suit everyone. We’ve always met during the day, and of course some people who’d like to attend simply aren’t available then. Holding evening meetings would be an option, but that wouldn’t suit everyone either (and would mean finding a new venue – see above!). We do at least vary the days of our meetings, as some members of the group have firm commitments (work or otherwise) that mean they can’t come on particular days. But the search for that elusive ‘perfect time’ continues…

5. Something with a theme works best

For the first couple of years our meetings were simply a chance for general (professional/social) chat, and that seemed to work fine. When we moved our meetings to a room upstairs in a local café, we had the opportunity for more focused discussions, and I think that has worked well. New people have a chance to find out about a specific topic, and it gives more experienced editors and proofreaders more of a reason to come to the meeting and share their experience (and, indeed, learn something new). It can be a challenge to find themes that appeal to such a wide range of people. Several group members have led sessions: we’ve had talks on public speaking training, proofreading annual reports, and editing from a fiction author’s point of view, as well as a very successful session on grammar, spelling and punctuation niggles. And we usually end the year with an ‘editorial highs and lows’ session in December: most people have had a high or low of some kind, whatever their level of experience.

6. People will come and go

The people who come along to our meetings are a constantly changing group. Yes, there are those who’ve been attending regularly for years (and some of these even came to that very first gathering). But we also have people who have been to one or two meetings and then (for whatever reason) didn’t come again, as well as those who’ve attended regularly until they retired, moved away from the area or decided on a different career path. This ever-changing membership helps to keep our meetings fresh, while still allowing participants to get to know a few familiar faces.

7. People will travel great distances for meetings

I chose Saltaire for our meetings because it’s reasonably well served by public transport and road links (as well as being a lovely place that’s right on my doorstep). But I’ve been really surprised over the years at the distances people are willing to travel to come to our group. From the earliest days we had a couple of members who came all the way from the wilds of the Yorkshire Dales, and we regularly have participants from Leeds, Wakefield, Doncaster, Huddersfield, Hull – and even darkest Lancashire! At the other end of the spectrum, and from a personal point of view, it’s also been great for me to get to know editors and proofreaders who live within a mile or two of me.

8. People are very different

Anyone who’s spent any time at all around editors and proofreaders will realise that there’s no such thing as ‘typical’. Our group welcomes those who are just considering a career in editing or proofreading, those who’ve started their training, those who’ve been working in the profession for a while and those who might be termed ‘veterans’. Some of them work on fiction, some specialise in legal, corporate, scientific or academic fields, and some do a little bit of everything! Although it’s sometimes a challenge to cater for all these disparate interests, I definitely think our meetings benefit from this mix.

9. We all learn from each other

Linked to the previous point, I think we all have a lot to learn from each other, whatever our level of experience or area of interest. Someone who’s new to the profession might have a deep knowledge of the different training options available. In-house staff will have different perspectives from those who work as freelancers. And we can definitely all learn from each other when it comes to the technical side of our work, whether that’s software tools to help with the job, social media platforms for marketing our services, different methods of getting paid or tax requirements for sole traders.

10. Local groups are vital for the SfEP

A thriving local group is a great way in to the SfEP. The discussions we have at our meetings aren’t designed to promote the Society explicitly, but I do think being part of a local group gives people a sense of what the SfEP is about: mutual support, learning, sharing ideas and experience and meeting like-minded others. From the Society’s point of view, getting people involved in local groups can be great for member recruitment and retention. For example, two people who’ve been involved in the West/North Yorkshire group now run other local groups, strengthening their personal engagement with the SfEP. Such engagement can feed through to regional mini-conferences and to the main SfEP conference: it’s so much nicer to attend an event if you know there are going to be at least a few familiar faces.

I’ve learned a lot during the SfEP West/North Yorkshire local group’s first ten years. It was lovely to mark the occasion with a relaxed social event, and I’m looking forward to the next ten years (if only because it’ll be an excuse for another curry).

Helen Stevens has been a freelance proofreader, editor and copywriter for over 20 years, and now specialises in academic and non-fiction editing. She enjoys walking, reading, and playing Scrabble and mahjong, though not all at the same time.

 


There are SfEP local groups all over the UK – as well as in Toronto, Canada. There is also an international Cloud Club for those unable to attend meetings in person.


Proofread by Victoria Hunt, Intermediate Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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


 

Five things to take to the SfEP conference

By Abi Saffrey

It’s just over a week until the 2019 SfEP conference. This year, I’m leading a workshop on editorial project management but, while writing my slides, I got a bit distracted by thinking about what I need to take with me. And then I started to wonder what other delegates would be taking with them, so I went onto the SfEP’s conference forum and asked. Here are my (and my respected colleagues’) recommendations of what to put in that wheelie case before heading to Aston University in Birmingham on 14 September.

1. Home comforts

Conference accommodation can be unpredictable – the pillows too firm, the duvets too thick, the shower room too tiny – but it’s possible to mitigate those issues by taking something from home. Okay, you can’t take your bathroom, but you could take a pillow or pillowcase, a sheet, even a small fan. At some venues, if you bring a hairdryer, you’ll gain brownie points from other delegates. They may even stand you a drink at the bar. But this year we can all travel light, because Aston’s rooms are truly luxurious with hairdryers, irons (and accompanying boards), fans, bedside lights and adequately sized bathrooms.

2. Food and drink

I will be taking my refillable water bottle, because I love a bit of hydration – especially important in air-conditioned seminar rooms and when spending the best part of three days talking (and laughing). Emergency and preferred teabags are worth shoving in your case, as you never know what will be on offer in bedrooms or at break times. Ditto snack items – whether you prefer sweets or bananas, you’re going to need energy to keep the brain whirring.

Good news: there is a small supermarket a short stroll from the Aston conference centre, so Minstrels are always within reach (other chocolate products are available).

3. Something for the quiet moments

Conferences are tiring, especially if you normally work at home with only a furry companion to talk to for hours on end. How strange that editors often take books with them for their downtime. Other portable hobbies that can provide an essential mental and physical breather include music, colouring, sketching, sewing, running and wine.

Aston does have a delightful little swimming pool that is open to delegates at certain times, so remember to pack appropriate attire if you fancy a dip. This year, there will also be a Quiet Room in the conference centre, so that delegates can easily take time out during the busy days.

4. Something for the actual conference

It turns out that the SfEP conference isn’t all about chatting with edibuddies; there’s also some of that there learning going on. Take an open mind and some confidence – listen to others’ ideas and speak your own. If you’re prone to a grumpy resting face, see if you can dig out a smile or two (for use when appropriate).

You’ll need something to take notes with/on, whether that’s a laptop, mobile device or a notebook and pens (preferably lots, and in different colours). And don’t forget the charger (and additional power pack) for those electronic devices, especially if you’re live tweeting (this year, the conference’s hashtag is #sfep2019).

Consider your clothing selections – a conference is not the right time to try out new shoes. Go comfy (and clean).

Remember business cards in case of networking successes or prize draws.

5. Medication

Nearly everyone who responded to my call for suggestions mentioned medication – either for an existing condition or painkillers for the headaches that come from thinking, talking and those lightbulb moments. (I refer the honourable reader to the earlier point about hydration.)

And don’t forget!

It’s the UK! The weather does what it wants. It turns out that coats quite often get left at home, and are later missed.


With thanks to SfEP conference goers and forum regulars, veterans and devotees: Hugh Jackson, Helen Stevens, Anya Hastwell, Sue Browning, Julia Sandford-Cooke, Luke Finley, Jane Hammett, Denise Cowle, Margaret Hunter, Jane Moody, Beth Hamer, Cathy Tingle, Sabine Citron and Melanie Thompson (and those who have contributed to the discussion after this was written).

 

Abi Saffrey will be taking decaf teabags, a water bottle, her swimmers, well-worn trainers, bananas, her laptop, her resting grumpy face and hopefully a completed set of PowerPoint slides to this year’s conference.

 

 

Proofread by Victoria Hunt, Intermediate Member.
Posted by Abi Saffrey, SfEP blog coordinator.

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