Tag Archives: CPD

The CIEP Curriculum for Professional Development

The CIEP’s training director, Jane Moody, has been working closely with directors, tutors and the wider membership to create a curriculum for professional development. In this post, Jane explains:

  • why we need a curriculum
  • what that curriculum covers
  • how the curriculum works.

Do we need a curriculum?

Yes, we do! Most professional organisations have a set of skills and knowledge that you need to understand or at least know something about to call yourself a professional in their area. Some test their members on this set of skills (physiotherapists and accountants, for example) before they can call themselves members of their professional body. All expect their members to refresh their skills and learning against this skill set periodically. Continuing professional development, CPD, is expected of all members, no matter their status in the organisation, and this is true of copyeditors and proofreaders as well.

We, as editors and proofreaders, now also have a framework of study – the CIEP Curriculum for Professional Development.

What does it cover?

At first glance, you might think that you won’t need to know about everything in the curriculum. Have a closer look, though. Any publishing professional needs a basic grounding in publishing ethics and law – even if you only scratch the surface, you should at least know something about the moral rights of authors, plagiarism and copyright. If you work as a freelance editor/proofreader, you are running your own business, so you need to know something about keeping records, what HMRC needs to know about you, and how to work efficiently. You will have your own equipment, so a basic knowledge of how to manage your files and keep them secure is essential for your own and your clients’ peace of mind. That takes you to the end of Domain 1 of the curriculum: Working as a professional.

You may be working in-house in a company and, if so, there will be some aspects of business management and practice that may not be immediately relevant to you. The knowledge in this area will, however, be useful to most members working in our profession today.

Even if you never work for a ‘traditional’ publisher with an editorial department, a production department and a marketing department, you will need to understand the basics of a publishing workflow. There are good reasons why some tasks are done before or after others. The more you understand about the industry and its processes, the wider your client base can be and the more useful you can be to your clients.

Working with words means that you need a good knowledge of the English language and its mechanics, and how different people, groups and organisations use the language. You need to be able to judge whether something makes sense, is clear and appropriate for the audience, and to be able to raise queries with an author or client in a concise and sensitive manner.

How you work is critical to getting repeat business – do a good job and you may pick up a regular client; do what you think you need to without learning about how and why and you are not likely to be asked for a second date. The nuts and bolts of copyediting and proofreading processes have been refined over many decades and, no matter who you work for, understanding what you are doing, who for and why matters if you want to do the best job you can. And now you are at the end of Domain 2.

Not all editors/proofreaders will use all the skills and knowledge included in these two domains of the curriculum in their day-to-day work. Nevertheless, as you grow in skills and experience, you are likely to want to broaden your awareness of publishing processes and the breadth of publishing outside your initial comfort zone. Developing your knowledge and acquiring a broad range of skills are essential CPD.

Some people prefer to remain as ‘generalists’, working for many different clients in several genres and subject areas. If this is true for you, you may never need to consult Domain 3. Others like to specialise, some in traditional areas where there is a body of specialist publishing, such as medicine, music, fiction or the law. Each of these specialist areas has its own conventions, specialist knowledge and terminology. Domain 3 covers a few of these specialisms and others will be added – if there is a specialism that you think should be included, copy the template at the start of Domain 3 (page 28), fill it in and send it to the training director.

How it works

Each domain of the curriculum is set out in columns. The first column divides the domain into detailed topics. The second column shows the competencies, professional skills and attitudes expected of a professional copyeditor/proofreader for this topic, and the third lists some resources to support learning in this area. Eventually, there will be a fourth column, which will list the ways in which a copyeditor/proofreader can demonstrate their competency in this area – a test pass or other kind of assessment, perhaps. This is an aspiration for the future.

We hope that you will contribute to keeping the curriculum alive. Have you taken a course that helped to expand your knowledge and skills? Have you come across a book or other resource that is really useful to you in your practice? Do tell the training director about it.

Download the curriculum now

About Jane Moody

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

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

 

About the CIEP

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

Find out more about:

 

Photo credits: book stacks by by Lysander Yuen on Unsplash; cogs by Gerd Altmann on Pixabay.

Posted by Abi Saffrey, CIEP blog coordinator.

Should I volunteer when my business is established?

Many editors and proofreaders volunteer time and skills at the beginning of their careers to gain valuable experience that might lead to paid work. But once you’re established in your business, with a regular client base, what are the benefits of volunteering? We talked to some CIEP members to find out how volunteering works in a more settled career landscape. In a previous blog, we looked at volunteering when you’re just starting out, and covered the questions you need to ask yourself before giving away your valuable time.

In this article, we’ll cover:

  • Value-led volunteering
  • Making yourself useful
  • Helping colleagues out
  • Supporting the wider editorial community
  • Reaching across the earth
  • Giving back

Value-led volunteering

All volunteering is value-led to an extent, but for some of our members their values are the deciding factor in working out what volunteering work to take on.

CIEP Professional Member Ben Dare says: ‘I have offered voluntary proofreading to a number of organisations that I knew were either volunteer-led or had very restricted budgets. I thought that all of them were interesting or aligned with my values.’

In the end, some of this value-led voluntary work turned into value-led paid work:

  • One turned into a counter-offer of a few hours a week of paid work.
  • One connected Ben with a publisher’s editorial assistant, also volunteering, who connected him with their publisher. That turned into a number of proofreads, Ben’s first copyedits, and an ongoing relationship with the publisher.
  • One organisation incorporated Ben’s work into their funding applications so that they could start paying him for his work on their projects.
  • One remained a voluntary role, but it was fun and meaningful.
  • One remained voluntary with a paid project in the middle and the possibility of more in future.

Ben continues: ‘I also offered to do an unpaid proofread for a few charities when Covid was at its peak, knowing that finances were so uncertain, but also not expecting it to remain voluntary for future projects.’

  • One insisted they pay and sent a few projects Ben’s way.
  • One took a voluntary proofread and continues to follow up with paid projects, and referred Ben to another client.
  • One took a voluntary proofread and continues to follow up with paid projects.

Even with this impressive return, and a client base that increasingly reflects his values, Ben consistently offers a certain proportion of his hours for free. From his records, he has noticed that his percentage of voluntary hours has remained at around 10%. He says:

While I’d obviously have been better off had all those voluntary hours been paid, it’s not a big portion on paper. The important thing is that I only offered voluntary proofreading where I thought there was a need, and when I knew I would be satisfied doing the work, paid or not.

Making yourself useful

Some people volunteer long term for one organisation when there is absolutely no chance of ever being paid for it. Editing church or other faith-based magazines is a good example of this. CIEP Intermediate Member Annie Deakins has been volunteering for her monthly parish magazine since 2017. Her account of how this has benefited her, giving her skills that have helped her wider career, echoes the experiences of some of our newer members:

2017: I offered to proofread the monthly parish magazine for the local church. I was an Entry-Level member. I learnt how to use the PDF tools.

2018: The magazine editor retired, so she trained me to take over. I learnt about having a style sheet.

2019: A new church administrator was appointed. Her job role was tightened, so I took over invoicing the advertisers. I placed my own advert for proofreading services. I learnt about communication, diplomacy and tact. Very handy when querying.

2020: The vicar got promoted. She had done all the church social media. She taught me how to do it. I learnt how to market my own business.

There’s no denying that volunteering will push you towards skills and knowhow that you might not feel comfortable trialling in a paid role. However, for Annie, it’s also about offering a talent that’s genuinely useful to others:

I still volunteer with the Publicity Group at church because that is where my talents lie. I’m not happy doing catering, DIY or Finance. Therefore I do the church social media (Facebook, Twitter, Instagram) and edit the church magazine.

During lockdown, when we weren’t sending the magazine to print, I still produced an online PDF version, accessible from the church website. Usually the magazine is printed in black and white with a colour cover. During lockdown, when it was online only, the illustrations on each page could be in colour, which made each issue cheerier and raised spirits. Even if they didn’t have the hard copy in their hands, I still felt that my volunteering was valued.

Helping colleagues out

Kath Kirk (Gecko Edit) and Christina Petrides (Last Glance), both Intermediate Members of the CIEP, trade their skills by editing each other’s blogs before publication. Working in different sectors – Kath edits fiction and educational materials while Christina focuses on academic and business editing – there’s rarely overlap in their blog material. Their informal barter arrangement benefits them both, and pushes them to dig into aspects of editing that they might not encounter in their usual work.

Sue Littleford, our columnist on business matters, explains how this arrangement works tax-wise:

If you swap proofreading services with a friend for your blogs or your websites, you need to enter the cash value of the services received and rendered in your accounts, too. If they balance, it’s ‘free’ in monetary terms (other than your time), as the tax liability will exactly offset the tax relief. But if you spend one hour on your friend’s blog and your friend spends two on yours, there’d be greater tax relief than the tax liability (and vice versa), which is why it has to go through your accounts.

Supporting the wider editorial community

As a non-profit organisation, the CIEP relies on voluntary help. Its directors give a certain number of hours voluntarily every month, for example. Our social media team (SMT) is made up of volunteers, too. Obviously we have to keep the names of these ninja-like communicators secret, but one comments:

I’ve learnt about tone of voice, and tweeting for the CIEP has sharpened my copywriting skills. Being a member of the team has thrown me together with CIEP members with similar interests, eg in content marketing and user design. I feel I better understand engagement, and I’ve learnt how to write for the different social media platforms. All really useful for my business. And when I was starting out, I learnt about loads of interesting organisations in the publishing world by seeing who the CIEP follows on Twitter etc.

Another says: ‘I think it’s contributed to my appreciation of the wider industry. This can be a solitary old existence, so the team itself is a benefit. In terms of specific skills: awareness of use of appropriate language (gender-neutral pronouns!) and improved skills with web platforms, Slack, SmarterQueue, which is all very useful.’

Louise Harnby, the CIEP’s social media director (at the time of writing), testifies to the value of her team:

I work with an exceptional team of volunteers who deliver every piece of content that engages with the wider publishing and editing community. That frees up my time to focus on strategy and scheduling content that promotes membership growth, training, blog content, and our Directory of Editorial Services.

A team approach ensures the CIEP’s social media strategy is framed in a way that reaches beyond the bubble of a single director. Instead, there’s a support group in which we can share ideas about how best to put the strategy into practice – whether that be the design of our branded templates or the timing of our posts. Plus, there’s more than one set of eyes on our social media feeds and the questions our followers are asking. That’s more enjoyable and more effective.

Being a member of the SMT requires being able to write pithy messages that are engaging but hold our brand tone of voice, understand the principles behind content and social media marketing, and evaluate a post’s relevance and its alignment with CIEP values. For that reason, our volunteer editors and proofreaders tend to have some experience when they come on board.

Over the past few years the size of the SMT has decreased. But what’s stayed the same is the value and expertise our volunteers bring to the table. I love working with them and learning from them. And I’m very thankful for them! Delivering our social media strategy would be impossible without them.

Reaching across the earth

CIEP Professional Member Sarah Dronfield has become known among editors worldwide for running weekly blog round-ups on the Editors’ Association of Earth Facebook Page. She became a member of the editing community on Facebook soon after starting her editing and proofreading business in 2016, and explains how she spotted a need:

Lots of editors were saying that they read blog posts or listened to podcasts as part of their continuing professional development. I knew it was possible to follow individual blogs, but I thought it would be handy for us to have all the latest posts in one place to dip in and out of during coffee breaks, so in 2017 I started a weekly blog round-up in the Editors’ Association of Earth (EAE) Facebook group.

Later that year I took over the running of the weekly accountability thread in another of the EAE groups. That thread is a place for editors to share what they’ve done that week to market their business or advance their professional development. Many editors form their own private accountability groups with others who are at a similar stage in their career or who work in the same field, and the thread is useful for those who are not part of such a group. Having said that, I know lots of editors (myself included) who are in a private accountability group but still like to participate in the weekly EAE thread!

Posting these weekly threads makes me feel like I’m giving something back to the community that helped me so much when I was starting out. It also gives me a routine and a sense of normality that is essential these days.

Giving back

So, why do they do it? At this point in these professionals’ careers, their motivation isn’t so much future employment but adding something to their working lives. Volunteering can lead to work, but often it’s something that runs regularly alongside work, taking up a fairly predictable amount of time. It’s a way of getting CPD and forming new contacts as well as gaining satisfaction from helping in a way that’s consistent with their values. They’re giving something back, which may in time encourage others to do the same.

Do you volunteer? What do you do, and why? Let us know in the comments below!

Written by the CIEP information team. With thanks to the CIEP members who generously shared their experiences.

About the CIEP information team

Abi Saffrey, Liz Jones, Margaret Hunter, Cathy Tingle

Liz Jones, Abi Saffrey and Cathy Tingle are the CIEP’s information commissioning editors. If there’s a topic that you would like to see 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 credits: tree by Brandon Green; Why Not? by Ian Dziuk; sprout by Sushobhan Badhai, all on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

A week in the life of a development editor

Harriet Power gives us an insight into her typical working week, with a focus on development editing.

This article covers:

  • what the job of a development editor involves
  • the typical process for a textbook
  • the typical process for a professional development book
  • marketing and professional development.

I began my editorial career in-house, and very much learned how to development edit on the job. I was never given any formal training; instead I learned through a mix of instinct and informal guidance over the course of eight years working for educational publishers like OUP and Pearson. My last in-house position was as a development editor for OUP, where I mainly developed GCSE humanities textbooks.

I went freelance in 2017. Since then most of my work has been for educational publishers, though I’ve also started to work on prescriptive non-fiction over the past year or so.

I really enjoy development editing. I love getting stuck into a manuscript to make sure it really works. I love that combination of creativity and logic needed to solve any problems. I love working closely with authors and feeling like I’ve made a real difference.

What my job involves

For non-fiction, development editing all comes down to the simple question of does this book deliver what the reader wants? In this way I think it’s actually quite objective.

I developed my first book a few months into my first job as an editorial assistant. (This was for a small publisher where editorial assistants basically did everything and you really had to hit the ground running.) I was given minimal guidance and hardly had a clue what I was doing … except instinct meant that I did. Because we all know what makes a good textbook, having relied on them over six or so years of schooling. So I started asking questions like, ‘Does this chapter give enough detail to answer an exam question on this?’, ‘Is this explanation too difficult for GCSE students to understand?’ and ‘Are these checkpoint questions unambiguous and answerable?’

It turns out these were the right sorts of questions to ask, and I still rely on them today.

When a textbook lands on my desk

When I’m asked to develop a textbook manuscript, it typically arrives with a whole host of extra documents: my brief, the author brief, the syllabus, a sample design, a sensitivity checklist, etc. So I spend a bit of time reading through all of this, trying to get the project clear in my head, and then make a list of things I need to check for each chapter (or even each double-page spread). The main purpose of this checklist is to make sure the author’s done what the author brief asks of them. (Which in turn implies the book delivers what the reader wants.)

The checklist might cover things like:

  • word count (is there too much material or not enough?)
  • spec match (does the book cover everything on the syllabus?)
  • features (has the author included the right number of features – like exam tips, discussion points, etc – and are they treated consistently?)
  • activity questions (are they answerable; have answers been provided, and do they actually answer the questions?)
  • artworks/images (are they appropriate, relevant, varied; are there the right number?).

Then I’ll work through each spread or chapter checking everything off. I might also do a fair bit of line editing, particularly where the text is unclear or unobjective. I’ll probably end up doing some fact-checking (even though it’s not an official part of the job), and I’ll keep an eye out for anything that could potentially cause offence and flag this up (even though there might also be a separate sensitivity review).

The development edits I do for publishers always include querying the author and taking in their revisions as part of the job. On some days, it feels like quite a lot of my time is spent wording diplomatic queries. Sometimes I have to ask an author to do a lot of work (without the publisher paying them any more for it), and they can’t simply say ‘no thank you I’d rather not’ in the same way an indie client can.

So even though it slows me down, I’m always careful in explaining why a major edit is important. I try to provide solutions/suggested rewrites, because I know the authors are busy (most of them are practising teachers). And the more help and direction I give, the more likely the author won’t go off-piste. That’s important when I have to take in their responses. I’ve found over the years that being really clear about what you want, and giving specific examples of what’s needed, helps to mean the revisions you get back are more likely to be on target.

One thing I really enjoy about development editing textbooks is trying to make sure controversial topics are covered in a balanced, objective way. This might mean being very careful over the wording of a spread on euthanasia, for example. So even though development editing is largely about ‘bigger picture’ stuff, I still have to focus on individual sentences or even words. For example, to make sure the wording of a list of arguments for and against euthanasia doesn’t accidentally make it look as if we’re favouring one side over the other.

When a professional development book lands on my desk

Another week, one of my publishers might hand me a professional development book where the brief is much less detailed (often amounting to little more than ‘can you edit this one please?’). This might easily turn into a combined development edit and copyedit. Basically, I’ll do a copyedit but if a manuscript has bigger issues then I’ll also point these out and help the author to fix them. So here I don’t have a prescribed checklist, as such, but I’ll ask questions like:

  • Is there enough detail to be able to take this advice away and act on it yourself? (One book I worked on almost doubled in size to make sure we’d answered that question.)
  • Does the book answer the question it sets out to solve? (One book ended up with a different title as a result.)
  • Does this book explain everything in a way that a beginner can understand?
  • Is the overall argument logical and persuasive?

I find development editing to be the most ‘thinky’ work that I do. You have to hold the whole book in your head in a way that isn’t so necessary with copyediting or proofreading. Edits can be more complex (and explaining why they’re so necessary can require careful thought). So I’m happy when I get weeks where I can switch it up with a bit of copyediting or proofreading or something else for light relief.

Marketing and professional development

Until the pandemic hit, I’m ashamed to say I put minimal effort into marketing and not much more into professional development. But that’s changed over the past six months or so. Now I try to set aside an hour a day for one or the other.

Last year I decided it might be a good idea to do some proper training in development editing (better late than never, right?). I couldn’t find much on offer but did sign up to EFA’s 8-week course on non-fiction development editing, which was really great. I also bought Scott Norton’s classic, Developmental Editing (which I still need to finish).

This year I’ve been working my way through a small pile of craft books on how to write non-fiction. I’d definitely recommend reading craft books if you want to get into development editing – they really help you to understand how good books work and what they should contain. Three I’d particularly recommend for non-fiction are:

  • Rob Fitzpatrick’s Write Useful Books. (This really changed my mindset on how to write great prescriptive non-fiction, and I’ve got quite evangelical about it.)
  • Ginny Carter’s Your Business, Your Book. (This’ll give you a really solid grounding in the elements that make up a strong professional development book.)
  • Susan Rabiner and Alfred Fortunato’s Thinking Like Your Editor. (Twenty years old but full of interesting, still relevant ‘insider’ advice on what publishers are looking for from ‘serious’ trade non-fiction.)

Summing up

This article has covered:

  • training and career paths to development editing
  • typical working processes
  • marketing and professional development for development editors.

About Harriet Power

Harriet Power is an education and non-fiction editor, a Professional Member of the CIEP, and co-author of four GCSE Religious Studies revision guides (this last one was a surprise even to her). She worked in-house for eight years before going freelance in 2017.

 

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: handdrawn lightbulb by Mark Fletcher-Brown; Together, we create! by “My Life Through A Lens”, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

Getting to grips with grammar and punctuation

By Annie Jackson

Do you go cold when you hear the words ‘dangling participle’? Does the mere mention of a comma splice or a tautology make you anxious? Do you have a faint memory, perhaps from primary school, that people who write ‘proper’ English never start a sentence with ‘And’ or ‘But’? Perhaps you’ve been flummoxed by the terms used in the school materials that you’ve had to work with while homeschooling your children (you are not alone: see this article by the former Children’s Laureate Michael Rosen).

Actually, you almost certainly know much more about grammar and punctuation than you realise. The ‘rules’ are often no more than old-fashioned preferences or prejudice, and may not be relevant anyway. It all depends on the text: a novel for young adults, an information leaflet for patients at a doctor’s surgery, or an annual report for a major company – each requires a very different approach. The tone in which the document is written, and the intended readership, will dictate how strictly grammar and punctuation rules should be applied.

If you work with words, in any capacity, and you feel that your knowledge could do with a brush-up, then the new online course from CIEP, Getting to Grips with Grammar and Punctuation, could be just what you need.

Why both grammar and punctuation?

Let’s see how the Collins Dictionary defines grammar: ‘the ways that words can be put together in order to make sentences’. It defines punctuation as ‘the use of symbols such as full stops or periods, commas, or question marks to divide written words into sentences and clauses’.

This explains why these two subjects have to go hand in hand. Grammar is about putting words together; punctuation helps the reader to make sense of those words in the order in which they have been presented. Used well, the grammar and punctuation chosen should be almost imperceptible, so that nothing comes between the reader and the text. If they are used poorly, the reader will be confused, may have to go back over sentences as they puzzle out the meaning, and may eventually stop reading as it’s just too hard to figure out.

For the want of a comma …

Take this well-known example. ‘Let’s eat, Grandma’ is a friendly invitation for Granny to join the family meal. If you remove that tiny comma, the poor woman is at the mercy of her cannibal grandchildren.

More seriously, a misplaced comma can have huge legal and financial implications (see ‘The comma that cost a million dollars’ from the New York Times).

Poor grammar can have unintentional comic effects (dangling participles are particularly good for this, as you can see here). It could even affect your love life (see this Guardian article ‘Dating disasters: Why bad grammar could stop you finding love online’).

So it’s worth knowing the rules you must follow, and those that can sometimes be ignored.

Why this course?

Getting to Grips with Grammar and Punctuation is for anyone who works with words. It aims to:

  • clarify the basic rules of English grammar
  • clarify the rules of English punctuation
  • discuss some finer points of usage and misusage
  • explain the contexts in which rules should or need not be applied.

This course alternates units on grammar and punctuation, with two basic units followed by two that go into more detail. Each unit has several sets of short, light-hearted exercises on which you can test yourself to see how well you have taken in the information. The penultimate unit discusses finer points of usage, and finally, there are three longer exercises on which to practise everything you’ve learned from the course. There is no final assessment for the course, but every student is assigned a tutor and is encouraged to ask for their help if any questions arise as they work through it.

There is an extensive glossary of grammatical terms as well as a list of resources, in print and online, for further study. This includes a number of entertaining and opinionated books on grammar which will prove, if nothing else, that even the pundits don’t always agree.

By the end of this course, you should have a clear idea of some of the finer points (and many of the pitfalls) of English grammar and punctuation. You should have developed some sensitivity to potential errors, acquired greater confidence, and learned strategies to make any written work you deal with clearer, more effective, more appropriate and even, perhaps, more elegant. And we hope that you will have found it interesting and entertaining at the same time.

Annie Jackson has been an editor for longer than she cares to admit. She tutors several CIEP courses and was one of the team who wrote the new grammar course. Despite many years wrestling with authors’ language, and before that a classics degree, she realises there’s always something new to learn about grammar.

With thanks to the other members of the course team who contributed to this post.


Photo credits: books by Clarissa Watson on Unsplash

Posted by Abi Saffrey, CIEP blog coordinator.

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

 

Reaching your potential with The Printing Charity’s Rising Star Awards

The Printing Charity has rebranded its annual Print Futures Awards as the Rising Star Awards. The awards champion young talent working in print, paper, publishing and packaging, and are now open for 2021 entries.

To be named a 2021 Rising Star and receive up to £1,500 towards the cost of training, professional accreditation or equipment to support career development, applicants need to be aged 18 to 30, resident in the UK, working in the sector, and be clear on how the award will advance their career.

Neil Lovell, The Printing Charity’s Chief Executive, explains the reason for the name change:

Refreshing the name and branding makes it clear that the awards are not just about print but all the many aspects of our multifaceted sector. The sector continues to change and our awards, the largest single awards in our sector, are about celebrating the new generation of talent working within it; young people who are already demonstrating great potential.

We’ve had nearly 500 winners since the awards began and, let’s face it, after 2020 we need as much positivity about the sector and its future stars that we can get. We are excited to see who applies this year and are asking businesses to encourage their rising stars to apply.

To find out more and apply for a 2021 Rising Star Award, visit www.theprintingcharity.org.uk/rising-star-awards/apply-now/

Here, four previous award winners share how they used their awards to build their skills and progress their careers.

Grace Balfour-Harle

I won a Print Futures Award in 2020, the most turbulent year in living memory. Although the awards ceremony in London was cancelled, having a Print Futures Award has opened many doors for me. From the outset, I wanted to use the award to attend training courses to further and consolidate my editorial skills. But I gained much more than that; the Printing Charity additionally covered my first year’s CIEP membership, which I am very grateful for.

Despite no in-person events, I haven’t faced any barriers to making the most of the award. Completing multiple courses from Publishing Scotland, I met my tutors and the other attendees; a different type of the dreaded networking, but networking nonetheless. In a practical sense, the courses have refined both my editorial eye and my methodology when completing an editorial job, as well as increasing my knowledge of the editorial process.

Having only received the award last year, it is too early to see the long-term benefits. But in the short-term, because of the courses and training I have completed, I have been able to submit my application to move from Entry Level Membership of the CIEP to become an Intermediate Member. Another direct benefit is that I appeared in Publishing Scotland’s Annual Report for 2019–2020 for undertaking a significant number of their training courses.

Applying for the award has inspired me to take control of my career development, of which continual and long-term learning is my top priority. The flexibility and support of my employers, DC Thomson, have been invaluable to help me start this long-term development plan, and the generosity of The Printing Charity is irreplaceable. All I can say, if you’re thinking about applying for a Rising Stars Award, is to do it – only you know where it might take you!

Clare Diston

In 2019, I was lucky enough to win a Print Futures Award. I am a freelance editor and proofreader, and I found out about the awards through an email from the CIEP (thank you!). I applied and, after an interview in London with some friendly people from the charity, I was delighted to be chosen as one of 93 winners that year.

Since I started my freelance business in 2011, I have worked on all sorts of different texts and across numerous genres, but in the last few years I have discovered a passion for science (especially astronomy), so I used my Print Futures Award to build the science editing side of my business.

I invested my award money in three things. First, I bought a new laptop, because my old one was slow and struggled to handle book-length PDFs. Second, I took the CIEP’s References course, because accurate referencing is key to all scientific texts. Third, I enrolled on UWE Bristol’s Science Communication Masterclass, a four-day intensive course in science writing and communication. It was absolutely brilliant: not only did I learn about the principles of ‘sci comm’ and gain valuable experience writing and presenting my ideas, I also met a fascinating and enthusiastic group of science lovers!

The Print Futures Award has given me a great foundation to start specialising in science writing and editing. Since I won the award, I have gained several new clients in science publishing, and I now regularly copyedit and proofread articles for scientific journals. I’m hugely grateful for this award – it has helped me to reach for the stars!

Alice Horne

When I applied for the Print Futures Award at the end of 2018, I had just left my role as an editor at non-fiction publisher DK to launch my freelance career. I was determined to maintain my professional development, but as every freelancer knows, finding the money for training – let alone the time – can be a challenge.

The Print Futures Award took away the first barrier by funding my attendance of the CIEP’s 2019 conference as well as two training courses. I loved the energy of the conference and the opportunity to meet editors from all over the country (those were the days!) and, of course, there were many insightful sessions; one that really stayed with me was the writers’ panel, which shone a light on the ‘other side’ of editing. The two training courses, meanwhile, solidified my knowledge and helped me develop new skills, specifically editing fiction.

But applying for and being awarded the grant gave me much more than the financial freedom and push to develop my skills. The interview process involved a fascinating conversation with two seasoned industry professionals, and the award ceremony itself was a real treat: meeting my fellow Print Futures Awards alumni and industry figures – and at the House of Lords, no less.

This experience made what could have been a scary and sometimes lonely transition into freelancing an exciting one. My close partnership with my clients as a freelancer slowly evolved into permanent contracts, and I soon found myself editing in-house again, but I’ll always be grateful for the Print Futures Award for giving me the self-confidence and a strong base from which to develop my editing career.

Bryony Leah

I’m so grateful for my Print Futures Award grant. It has helped tremendously, enabling me to fund training courses with the Chartered Institute of Editing and Proofreading and Certitec (using my CIEP member discount) that will allow me to expand my services as a freelance fiction editor and proofreader.

It’s easy to feel cut off from the publishing industry when you don’t live or work in Central London, so I’ve always felt a bit isolated with my training, and rely on institutions such as the CIEP for continuing professional development. However, funding courses as a self-employed freelancer can be difficult alongside other necessary expenses. Thanks to the Print Futures Award grant, I’m now enrolled in more tutor-assessed remote training and booked in for a classroom-based InDesign masterclass I previously could only dream of being able to afford.

Further to this, the application process gave me a necessary confidence boost exactly at a time when I was forced to adapt my editorial business due to the COVID-19 outbreak. I’m quite an introverted person and more comfortable working alone rather than asking for help, so the prospect of having to sit through a video interview was unappealing at first.

However, the Print Futures Award judges couldn’t have been more supportive. The interview was relaxed, friendly, and really helped me to put into perspective all of the things I’d achieved with my business already. Imposter syndrome tends to creep in when your workload isn’t consistent, and during the first lockdown in early 2020, I lost all of my retainer contracts in one week. It was the positivity and hope of the Print Futures Award judges and the motivation to continue my training (funded by the grant) that helped me to push through those difficult months. I’m now fully booked until June 2021!


With a history stretching back almost 200 years, The Printing Charity is one of the oldest benevolent charities in the UK. It is on a mission to be the leading charity in the printing, paper, publishing and packaging sector: here to help today, true to its heritage, and investing in future talent. Please see www.theprintingcharity.org.uk for more information and follow @printingcharity


Photo credit: night sky by Greg Rakozy on Unsplash

Posted by Abi Saffrey, CIEP blog coordinator.

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

Making the most of Microsoft Word

By Alison Shakspeare

It’s a fierce world out there, particularly for freelancers, and freelance editors need to make the most of every second when their hourly income rate depends on it.

Although ‘other software is available’, Microsoft’s Word is still the go-to writing program across the English-speaking world. Therefore, maximum familiarity and minimum ineptitude have got to be good things – and those are on offer through the CIEP’s Word for Practical Editing course.

I’ve been using Word since expensive new IBM PCs were gingerly invested in by my then-employers. There was no money for training and an infant worldwide web, so when you had a query it was a case of wading through cumbersome, incomprehensible manuals or picking the brains of those who’d been using it for longer. So, over the years I’ve gradually absorbed and researched ways and means of improving my knowledge and use of this ever-updating, universal software – but it’s amazing what you fail to pick up on if you jog along on your old familiar track.

You can tell the course has been written by practising editors because it acknowledges the numerous approaches to editing tasks. Therefore you don’t feel that there is only one way to use the program or to find and use the tools. The course uses screencasts as well as documentation, so you can absorb the information in the way that suits your brain best. And when you’ve finished you end up with the study notes, exercises, model answers and a range of useful resource downloads to refer back to.

What Word for Practical Editing is not is a beginner’s guide to using Word. You do have to be a user, and you do have to know your way around the basic conventions and tools, or you’ll find yourself floundering in a sea of unfamiliar terms.

What Word for Practical Editing does do, which may be unexpected, is widen your knowledge of working in the editing world in a business-like manner and of dealing with clients.

Whether you use a PC or a Mac, this course is for you if you want to:

  • extend your knowledge on approaching a project, beginning with the client brief before you approach the Word manuscript and tips on setting up the program and its tools, and different ways of viewing it
  • improve your ability to find errors and inconsistencies – not only are you told how to use the inbuilt Find & Replace (F&R), Spelling & Grammar and Macro tools and are referred to some great add-in programs, but you are also given a useful list of common errors any editor needs to be sure they are clearing up
  • clearly communicate your findings with your client – from checking the compatibility of your Word versions, to being sure that what you receive matches the brief, to different ways of showing Track Changes; you are also given useful templates for a stylesheet, an invoice and a feedback form
  • check that you are using styles and templates as effectively as possible – there are several layers to using these universal bugbears, and if every Word user were sent a copy of this information the air might be less blue
  • widen your knowledge of shortcuts – and you can download a useful list of them to keep referring to until they become second nature
  • gain insights on archiving and CPD, because jobs aren’t always done with once you’ve sent off the edited Word doc.

I will probably not end up using all the shortcuts the course introduced me to, even though they save on keyboard time and could even ward off RSI, but I’ve certainly expanded my knowledge of what Word offers and tightened up my use of it – and therefore increased my hourly income.

What more could you want?

Alison Shakspeare came to editing after a career in arts marketing and research for leading national and regional organisations. Her client base has expanded as her skillset has grown from basic copyediting to offering design and layout services. She truly enjoys the CPD she gains from working with academics, business organisations and a growing number of self-publishing authors.

 


Photo credit: Love to learn by Tim Mossholder on Unsplash

Posted by Abi Saffrey, CIEP blog coordinator.

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

Three things Carol Saller taught Cloud Club West

By Katherine Kirk

When Janet MacMillan, our Cloud Club coordinator, told us she had organised a virtual visit from the Subversive Copy Editor herself, I almost fell off my chair. As our excitement grew, my friends sent in questions for Carol Saller. I may have spent the entire Zoom call grinning mutely like a star-struck fangirl, but I also took notes; Carol had plenty of wisdom to share. I’ve whittled that wisdom down to three core ideas:

  1. Language is fluid and your editorial judgement needs to be flexible enough to evolve with it.
  2. Being part of an editing community is key to success.
  3. Embrace the tech!

Language is fluid and your editorial judgement needs to be flexible.

As a reformed stickler, Saller knows that being au fait with the rules is as important as knowing when to break them. Understanding the role of rules and how they evolve is a key skill that we editors need to develop. Some rules change with usage, especially thanks to the internet, while others change as society grows and develops. A recent example of this is CMOS and the AP’s recent affirmation of the capitalisation of ‘Black’ and ‘White’ when used as racial, ethnic or cultural identifiers, in line with efforts to make language more inclusive.

‘If you can’t justify your meddling, don’t meddle.’ Carol Saller

To subvert the rules without making a giant mess of things, you need to know them thoroughly. Do your research, continue training throughout your career, and read widely. Another way to stay abreast of developments in language and editing is to participate in the discussion.

Being part of an editing community is key to success.

Being part of the discourse around language and editing is one of the key benefits of joining professional organisations such as CIEP. Learning from others who have gone before you can both save you time and help you to discover questions you hadn’t known to ask. A recognised group of professionals, such as the international Cloud Clubs, the regional groups and the CIEP forums, gives you access to a wealth of knowledge that is far superior to the well-meaning but often inaccurate suggestions from guessers on social media. Not to mention the amazing CIEP annual conference, which took place online this year.

‘Beware of bad advice from very friendly and polite people.’ Carol Saller

Another way that Carol benefited from forming relationships with other editors was through her experience working with her mentor, Margaret Mahan. Margaret provided comments and feedback on her work, giving her insight into where she stood in her abilities and what she needed to do to get better.

‘Unless you recognise a significant result, there’s no progress.’ Carol Saller

Learning from more experienced editors means taking the shortcuts that others have discovered, and not reinventing the wheel. CIEP has its own mentorship programme that you can access as part of your training.

Embrace the tech!

Some brilliant minds have solved problems for us with technology, such as Paul Beverley with his macros. For established editors like Carol, it is hard to remember what editing used to be like before computers got involved. She recalled paging through hard copy to find a certain detail she remembered from somewhere near Chapter 3 that had been referred to in Chapter 11. As a millennial, I shudder at the thought of editing without the ‘Find’ function. Not to mention the idea of creating a style sheet without the aid of Paul’s DocAlyse macro! People easily forget the drudgery of unautomated tasks.

Why make your work slower and more difficult if you can remove the tedium with the push of a button? It may take a little learning, but once you’ve got the hang of the tech, it’s well worth it.

‘Those who fight the tech have a worse experience.’ Carol Saller

Carol has embraced the technological tools available to her, so she can save time on the grunt work and focus on the deeper (and more interesting) parts of editing.

Final thoughts

Carol Saller is an editing superstar. Being able to chat with her in the intimate setting of a small Cloud Club conference call revealed how approachable and humble she is. As we tittered over an anecdote about an invasion of ants, not only did I gain a deeper appreciation of Carol Saller and her book, The Subversive Copy Editor, but I also discovered the value of the Cloud Club I had joined. This warm, friendly community has helped me to get through the isolation of beginning to work from home during a global pandemic. Even though I was physically on my own, halfway up an Andean mountain, I felt immediately welcome in this group of people who were only too happy to share their experiences, the tech they use, the solutions they’ve found, and the socks they’re knitting. It’s a balance of water cooler conversation, friendship and professional development that hits just the right note. Janet has hinted at other guests to come, and I’ll have my notebook ready.

Katherine Kirk is an Intermediate Member of the CIEP. She proofreads and copyedits fiction, with a passion for Science Fiction and Fantasy. She has lived in five countries and speaks five languages. Before editing, she taught English to children in South Korea, China and Ecuador, where she is currently based. When not travelling or editing, she can be found making art, volunteering at the local library or taking pretentious pictures of books for Instagram.


Photo credits: Clouds by giografiche on Pixabay; Laptop by Ales Nesetril on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

A week in the life of a virtual PA

By Sherona Treen-Coward of Treen Coward Associates

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

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

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

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

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

Stay professional

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

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

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

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

Stay connected

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

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

Plan your courses

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

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

Allow time for yourself

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

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

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


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


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

Posted by Abi Saffrey, CIEP blog coordinator.

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

 

CIEP local groups: connecting and learning

The CIEP’s local groups enable members to share knowledge, hear from guest speakers, and gain new skills. Many groups meet monthly, and all have moved to online meetings since March. In this post, three members share what their groups have been up to.

Herts & Essex

By Antonia Maxwell

On 9 July the Herts & Essex CIEP local group welcomed Melody Dawes as guest speaker at its Zoom meeting. Melody is founder of Just Content (a specialist content services provider), and works closely with publishing clients to build teams of freelancers to meet their project needs.

Melody is ideally placed to offer advice and insight into the freelancer–client relationship. She highlighted the importance of scoping the project at the outset. This means establishing a brief, allocating the appropriate resources, and discussing the details of schedules, timing, pace of work – and of course fees. She emphasised the importance of two-way communication at this stage to avoid problems later on. Establishing expectations, hammering out a detailed brief and assessing the level of work are all areas where a freelancer – who may be the first person to delve into the detail of the project – needs to speak out and offer their expertise.

Melody was keen to explore CIEP members’ experiences of working with publishing clients. Project management was highlighted as a particularly thorny area when scoping a project – where clients may underestimate the level of work required. Offsetting quality of work against budget restrictions was discussed too – and again Melody stressed the need for clear communication and honest appraisal of the project.

The meeting concluded with Melody’s reflections on the future. She has noted a shift in emphasis in publishing towards digital products, but emphasised that the editorial skills required for these products remain broadly the same as for print. Freelancers shouldn’t be afraid of taking on digital work – everyone is learning – and as ever the importance of dialogue to establish the client’s requirements and any training needs was emphasised.

Melody talked about freelancers’ concerns for the future resulting from COVID-19 and lockdown. Although there is uncertainty, she felt that publishing seems to have adjusted to some extent during lockdown – for example, catering to the changing demands of the home school market and increased demand for digital output. Whether a lull in publishers commissioning new titles over the lockdown period will ultimately impact freelancers’ workflow remains to be seen.

Thanks to Melody for sharing her insights and spending time with the Herts & Essex Group!

West Yorkshire

By Helen Stevens

Many freelance editors and proofreaders don’t often need to speak in public. In fact, sometimes there’s little need to speak at all in the course of a working day.

So what on earth would possess a freelance editor to step outside their comfort zone and train in public speaking? Neuroscience editor Julia Slone-Murphy agreed to enlighten us.

Julia described situations in the past when she had been obliged to speak in public: the sleepless nights beforehand, the sweaty palms, the racing heart rate, the script delivered rapidly and without looking at the audience … Stepping several miles outside her comfort zone, Julia decided to tackle her fear by taking a public speaking course.

Perhaps not surprisingly, increased confidence in public speaking was the main benefit of training. But Julia also found she was more fluent and confident in verbal communication generally, whether in meetings, at events or on the phone. Similarly, she found she was more logical, coherent and eloquent in her written communications.

Julia gained a great sense of success in seeing herself improve in leaps and bounds, particularly in an activity she had previously struggled with.

Julia’s top tips

  1. Make it personal: Weave your own experiences into the message you’re conveying. Your audience will relate to your ‘story’, and your speech will be memorable and entertaining.
  2. Focus on the message: Don’t worry about being the centre of attention. Instead, focus on delivering a message your audience will find interesting. This moves the spotlight away from you and onto your audience.
  3. Keep practising: Find opportunities to carry on honing your skills, otherwise you’ll be back to square one!

David Crystal, the CIEP’s honorary president, makes it personal when speaking at the 2019 SfEP conference

Julia encouraged all editors and proofreaders to improve their public speaking skills, whether or not they’re planning to actually make a speech.

Goodbye, sweaty palms and racing heart rate; hello, logical thinking, eloquent delivery and sparkling social and business encounters!

NEW: Discovery

By Claire Handy

Thank goodness for the internet! Without it, the local group meetings would have been another casualty of the pandemic. However, since we’ve moved onto Zoom to stay in touch with our fellow editors, I have attended more meetings, and got to know more wonderful people, than I would normally have done.

For security reasons though, it has meant that only members have been able to attend these events. In normal times, those interested in learning more about the CIEP and proofreading/copyediting could usually attend up to three meetings before deciding whether to join the Institute, giving them a chance to ask questions about starting out, and learn more about what the CIEP can do for them. This isn’t possible at the moment, so Discovery meetings have been created to offer interested people the chance to find out more before a career change or joining the CIEP.

We had two trial meetings back in June before the idea grew into its current shape, and the first official Discovery meeting was held on 17 July – all to great success. Each meeting had a panel of amazing CIEP members who gave up their time to answer questions – questions that we all had when we started, which ranged from ‘What course should I do?’ to ‘How long until I get my first client?’ to ‘Does proofreading bring enough income in?’ to ‘What benefits does the CIEP offer me?’ and more. The meetings lasted just over an hour and all participants reported back afterwards that they were incredibly useful and packed full of information. There was so much excitement and anticipation in the feedback I received, which was lovely to read, and we now have new members joining our ranks.

The Discovery meetings will be continuing for future interested people; check out the Events calendar for dates and times if you know anyone who would like to attend.


Photo credit: video call and coffee – Chris Montgomery on Unsplash

Proofread by Lynne Baybut, Entry-Level Member.
Posted by Abi Saffrey, CIEP blog coordinator.

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

CIEP social media round-up: April and May 2020

Two of the strangest months in memory, recorded through our social media accounts

Times such as these are tricky for a social media team whose focus is on publishing and freelancing. As with pretty much everything right now, long term we don’t know what COVID-19 might mean for publishing, the book industry, or editors and proofreaders. We entered April 2020 wondering what we could communicate to our audiences on a day-to-day basis. Too much doom would be unhelpful. Too much levity would be unwelcome. What to do? Like so many others, we took each day at a time.

Silver linings

But heartening developments emerged, at least where publishing was concerned: increased book buying during lockdown, and the appearance of online book festivals and other events, with the Hay Festival, from 18 to 31 May, presenting an impressive array of personalities including our own honorary president, David Crystal. (David also starred in Mark Allen’s new podcast, That Word Chat, on 11 May.) Online events, by their nature, could include many more people than would have attended physically. ACES, the society for editing in the US (@copyeditors), took its conference online with #ACES2020Online on 1 May, and we were promised great things by SENSE, the Society of English-language professionals in the Netherlands (@SENSEtheSociety), whose online conference was to take place in early June.

Revising our lexicon

We covered the updating of dictionaries that the coming of COVID-19 required, so that editors and proofreaders were informed about how to refer to the virus. We posted articles about new terms such as quarantini and coronacoaster, and terms that were gaining popularity such as infodemic, as well as whether we were using older terms differently now. We reminded our followers of the differences between similar terms we were now using a lot, such as hoard and horde (‘There are hordes of people hoarding toilet paper’, one Facebook follower observed).

Keeping up with tech

Video conferencing packages are now part of our lives in a way they never were before. We covered Zoom in various ways, from why Zoom makes you tired to sports commentator Andrew Cotter’s Zoom meeting with his two Labradors: a treat. Meanwhile, Cambridge Dictionaries introduced us to new video conferencing terms like zoombombing, zumping and teletherapy. Merriam-Webster noted the coining of two news-and-phone-related phrases: doomsurfing and doomscrolling.

Shelf isolation

More attention is being paid to bookshelves in these Zoom days (see ‘Bookcase Credibility’, @BCredibility, an account launched in April that comments on the bookshelves of various public figures). Of course, at CIEP we appreciate a good bookshelf (and a good book nook, a scene or figure that can be placed between shelved books). On 25 March we had proved ourselves ahead of the curve by asking our Twitter followers to #ShowUsYourShelves. To fill these shelves still further, during April and May there were a number of articles and postings about the books we could read in lockdown, to comfort us, return us to our childhoods, inspire, uplift or offer us escape, or simply to get us through. We enjoyed artist Phil Shaw’s ordering of books to tell a story with their titles, something that Orkney Library (@OrkneyLibrary), now temporarily closed, had often done for its 70K followers. And, remaining with libraries, the true story about the cleaner who rearranged the books in a library in size order – oh, horror! – inspired sympathy and hilarity in many.

Actors available

Suddenly, actors and other artists had time on their hands and were doing impromptu readings and recitals. Jennifer Ehle, Elizabeth Bennet in the famous BBC 1995 adaptation of Pride and Prejudice, read the novel chapter by chapter, and we shared this on Twitter on 6 April. Andy Serkis read The Hobbit online for charity. @SirPatStew (Sir Patrick Stewart) read a Shakespeare sonnet every day until 22 May. Our post announcing this got 83 likes and 33 shares from our delighted Facebook followers.

Home comforts

Of course, we editors and proofreaders are, for the most part, well used to all aspects of working from home, from furry assistants to endless tea or coffee drinking. And, alas, with beverages occasionally comes spillage. One of our most popular posts on Twitter was about an artist who made coffee stains into illustrations of monsters. There were a lot of them. Boy, was he unlucky with his coffee.

Funnies, Friday or otherwise

If you’re a devotee of the CIEP Facebook page, you’ll know that there’s a Friday Funny at about 4pm every week to send everyone off into the weekend with a smile. These are often comic strips by book-appreciating illustrators such as John Atkinson or authors who understand the trials of working from home such as Adrienne Hedger. When we’re very lucky, the legendary Brian Bilston releases a poem. His ‘Comparative Guidance for Social Distancing’ got 160 likes and 105 shares on our Facebook page, and it wasn’t even posted on a Friday. Sometimes the stars align and there’s a cat-and-books story we can post at the end of the week. Such an event took place on 22 May, when we enjoyed Horatio, a cat who wears (or, really, bears) costumes to promote his local library. As one Facebook user commented, ‘That is a patient cat.’ Truth.

Lockdown LinkedIn

We only started posting our blog-based LinkedIn content regularly last June, and since we passed the 10,000 followers mark last August our followers have increased again by another 8,000. Since lockdown, engagement has reduced as many of our followers seem to be working parents who are grabbing opportunities to work while suddenly morphing into teacher mode. During April and May 2020, posts that proved popular included: Denise Cowle’s week in the life of an editor (more than 8% engagement rate and 45 likes), a post by Intermediate Member Hilary McGrath sharing tips for staying motivated when starting a course (more than 4% engagement rate and 38 likes) and, showing reading-related content is our bread and butter, Abi Saffrey’s post about evaluating her year in books (more than 5% engagement rate, 32 likes and 8 comments).

Rounding up the round-up

During April and May 2020 on the CIEP’s social media, the emphasis was on editors and proofreaders looking after themselves, diverting themselves, keeping informed and looking for light where it could be found. As ever, our social media was overwhelmingly about support. We got a new emoji on Facebook – ‘care’, the usual little yellow head hugging a heart. Gotta tell you, it’s coming in useful.

Don’t miss a thing in editing and proofreading. Follow us on: Facebook, Twitter and LinkedIn.


Photo credits: wall emojis by George Pagan III; cat by Andrii Ganzevych, both on Unsplash

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

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