Tag Archives: professional development

Podcasts and editors: what the word nerd heard (part 2)

In the first part of this blog, I explained why I’m a fan of podcasts and how their focus on narrative and storytelling make them particularly appealing to writers and editors.

In this second part, I’ve identified a few shows that I think fellow editors may enjoy – and they’re not necessarily what you’d expect. It’s just a small selection from the two million plus podcast series that are available, so existing podcast fans will probably wonder why I’ve not mentioned their favourite show. Well, I probably don’t know about it – but I’m always looking for new ideas so do put a link in the comments to any podcasts you love.

1. Podcasts about working with words

I only listen to a handful of podcasts that deal explicitly with language. I spend enough of my day wrestling with words as it is. But these are all diverting enough for listening not to feel like work, and could even be regarded as CPD (continuing professional development).

The Editing Podcast: All about writing and editing

Our friends, CIEP directors Denise and Louise, may have given you your first taste of the wonderful world of podcasts. They already have six seasons of bridging the gap between writers and editors, showing that our profession is both approachable and knowledgeable. What better combination? Add to that the fact that their shows are short and they don’t take up all your phone memory, and it’s a must-listen.

By the Book: The power of books and friendship

Here’s another couple of literary ladies, these ones quite different to Louise and Denise. Kristen and Jolenta live by a different self-help book each week, with varying results. For editors, it’s fascinating to note what it is about this genre that appeals to readers. But it’s not so much about how useful the books are, as about how powerful relationships are. Even if you have little in common with their New York lifestyles, these two not only are great role models as friends, but also seem to have helpful and supportive husbands who don’t mind their personal lives being recorded for the entertainment of thousands of listeners.

Because Language (was Talk the Talk): Cutting-edge linguistics

Much of the engaging character of this show also stems from the relationship between the three presenters. They take a very modern and descriptivist approach to language use, which is interesting from an editorial point of view. One might argue that they can be a little too tolerant of certain uses while shutting down others, but that’s the balance that linguists must negotiate.

For another option, Lingthusiasm is probably the best-known linguistics podcast, due to one of its presenters being the author of the excellent book, Because Internet – and it is worth listening to – but I have to admit my mind tends to wander during their lingthusiastic discussions.

The Allusionist: Exploring language in society

Helen Zaltzman explores language in relation to everything from cookery books to the censorship of Brazilian newspapers to Dickensian theme parks. It packs a lot into 20 minutes or so, and sheds a lot of light on both American and British culture, including the latest thoughts on sensitive language. The transcripts are particularly comprehensive, with lots of supporting material and enough links to get lost in for the rest of the day.

Something Rhymes with Purple: Jolly japes with Gyles and Susie

Everybody loved Susie Dent’s interview at last year’s CIEP conference and her etymological podcast with National Treasure™ Gyles Brandreth is just as entertaining. Both presenters are incredibly erudite, but wear their learning lightly (unlike Gyles’s famous jumpers) as they spark off each other while discussing the words of the week. It’s also quite funny to hear these respectable celebrities discuss sex and swearing so openly.

For ideas for more podcasts about language and writing, check out the suggestions at Podchaser and Book Careers.

2. Podcasts about narrative and storytelling

You may have noted that, for me, the appeal of my favourite podcasts often comes from the interaction of the presenters, and how they construct their narrative.

It’s the same for these podcasts, which focus on broader themes – real experiences and the world around us.

The Moth: The art of (true) storytelling

This is the original performance-storytelling podcast – real-life anecdotes told live on stage without notes. From an editorial viewpoint, it’s about constructing a compelling narrative but, on a more emotive level, it’s about life experiences across different times and cultures. Some stories are funny, some are tragic, some are compelling, all are memorable.

Don’t miss a lovely story by Mr PerfectIt himself (I nearly crashed the car when I heard the name Daniel Heuman), the amazing experience of an astronaut struggling to swim, or my absolute favourite – a woman remembers how reluctantly collecting milk-bottle tops for charity became something much greater than she expected.

Also check out spin-offs like The Dublin Story Slam, which features mostly Irish storytellers recounting their experiences. Mortified is another variant on the theme, in which adults read out their own teenage diaries on stage, with comical and cringeworthy results.

Spooks and Bogles: Never let the truth get in the way of a good story

Actor, author and historian (and – disclaimer – my friend) David Kinnaird found himself short of an audience at the start of last year’s lockdown so, with typical energy and panache, he used his considerable knowledge and performance skills to write and perform a weekly podcast about Stirling’s history and ghost stories. If that sounds a little esoteric, well, that’s part of the charm, but David’s research and storytelling is exemplary. And in fact, after around 70 episodes, it’s broadened its focus to Scottish, and sometimes Irish and English, folklore – the starting points for fascinating explorations of history, politics and the nature of reality.

For context, start at the beginning with Dead Man Talking.

99% Invisible: Putting the visual world into words

This one’s a lesson in style for non-fiction editors – every episode succeeds in vividly explaining the influence of design and inventions on the world. Presented by the memorably named Roman Mars, each of these mini-documentaries about architecture or technology or town planning or ‘Who Let The Dogs Out’ by the Baha Men* will have you repeating random facts at everyone you meet.

They’ve covered almost literally everything – but several episodes are about books and here’s a recent episode, The Clinch, about the sexy covers of romance novels.

*If you’re interested in the origin stories of cheesy pop songs, an honourable mention goes to this uplifting episode of Every Little Thing, about the origins of that wedding-reception classic, ‘Cha Cha Slide’.

How I Built This: The stories behind the brands

Another memorably named presenter, Guy Raz, interviews entrepreneurs of brands you may or may not have heard of about their experiences of starting, running and sometimes leaving businesses. It sounds horribly dry and capitalist but it’s actually very engaging – another lesson in how storytelling works in factual contexts too. Guy’s politely probing interviewing style results in some candid revelations from CEOs. Look out for him making a point of asking both women and men how they balanced work with childcare, and also note the answers to his most famous question … was your success due to skill or luck?

As a daily Duolingo user, I like this episode about the surprising story of the world’s top language-learning app.

Beautiful Anonymous: A weekly tribute to empathy, openness and honesty

It’s a simple premise. New Jersey comedian Chris Gethard chats with an anonymous caller for an hour. They tell their life stories in their own words, so you get perspectives from those whose voices you may not normally have a chance to hear. Some callers have rather dull lives; others certainly do not – but it’s all about what it is to be human.

There are more than 270 episodes so far. Chris himself recommends his favourite early episodes in this article.

And finally …

My Dad Wrote a Porno: The best editing podcast of all

You’ve probably heard of this one – it’s one of the most popular British standalone podcasts and has picked up numerous celebrity fans. And it really is all about writing and editing! Jamie and his friends read out – and comment on – his dad’s explicit but amateurish porn novels. It’s both hilarious and, er, educational, in more ways than one. They’re quick to pick up on inconsistencies, factual errors (especially involving body parts) and structural issues – showing that readers do notice such things. The spin-off book was a marked-up manuscript – I’ve got a copy right here next to Hart’s Rules.

And you’ll never think of pomegranates in the same way again.

Enjoy listening and do tell me about your own favourite podcasts – the more obscure the better!

About Julia Sandford-Cooke

Julia Sandford-CookeJulia Sandford-Cooke of WordFire Communications has spent more than 20 years in publishing. When she’s not listening to podcasts, she writes and edits textbooks, speaks very bad Dutch and posts short, often grumpy, book reviews on her blog, Ju’s Reviews.

 

 

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: play/pause by Thomas Breher from Pixabay; Listen by Belinda Fewings on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

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

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

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

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

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

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

Sadness

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

Excitement

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

Trepidation

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

Opportunity

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

Wistful reflection

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

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

There have been many pros:

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

There have also been some negatives:

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

Constructive reflection

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

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

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

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

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

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

About Leena Lane

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

 

About the CIEP

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

Find out more about:

 

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

Posted by Abi Saffrey, CIEP blog coordinator.

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

Podcasts and editors: what the word nerd heard (part 1)

In this first of two blog posts, Julia Sandford-Cooke introduces us to podcasts and looks at how they can be a useful development tool for editors. She answers the following questions:

  • What is a podcast?
  • Do you have to pay for them?
  • Who listens to podcasts?
  • What can podcasts be about?
  • OK but how does this all tie in with editing?
  • Don’t know where to start?

I have to admit something that you might find shocking. Brace yourself …

I don’t listen to BBC Radio 4. No, not even The Archers.

In fact, I haven’t listened to live radio, or live TV for that matter, for years. But I somehow still manage to be well informed on topics that interest me. In fact, spend any time with me and one thing I’m likely to say (other than ‘How can the dishwasher be full already?’) is ‘I heard [insert fascinating fact] on a podcast’.

According to my aptly named Podcast Addict phone app, I’ve spent 91 days listening to podcasts since 2016. Last week alone, 10 hours and 36 minutes of my time were accompanied by podcasts. So I must have spent 10 hours and 36 minutes on my morning walk, cooking, tidying, cleaning and, yes, dealing with the dishwasher. It’s just like listening to the radio – any task that would otherwise require me to listen to my own thoughts can be carried out while listening to other people’s. It’s my own form of curated content.

What is a podcast?

Podcasts are a form of on-demand audio media. Many people, at least in the UK, seem to think they are simply radio shows you download from the BBC website. Well, some are, but you’re missing out if that’s the extent of your podcast experience. The majority are standalone audio recordings, usually part of a series, researched, recorded and produced specifically for listeners to access via their computer, tablet or phone. You can download episodes to listen to when you want, or you can stream them if you have a reliable WiFi connection.

Episodes can be any length, from five minutes to a couple of hours. Most of those I listen to are between 20 and 50 minutes long – again, like a radio show. But unlike radio shows, many have transcripts, along with images, on their websites, so people who are unable to hear or have difficulty taking in spoken information can still access the content.

One of the many wonderful things about podcasts is that it’s very easy to create your own. Three of my friends (separately) started shows during last year’s lockdown – everyone can have a voice, though whether they have an audience is another matter and that, as with books, is down to promotion and word of mouth.

Do you have to pay for them?

Podcasts are generally free to access. However, a downside is that many have to keep stopping for adverts from their ‘sponsors’, which is a bit tedious if you’re used to ad-free media. But you can always fast-forward through them, and it’s worth putting up with the ads if it means the shows remain free. Others are funded by fans donating to Patreon or similar crowd-funding platforms – I support my friend David’s historical storytelling in Spooks & Bogles, for example, and the entertaining and erudite Strong Songs has more than 1,250 subscribers willing to pay a monthly fee to hear about the songwriting techniques behind their favourite tracks.

Most podcast apps and platforms, such as Spotify, are free for the basic service. I chose to pay £2.99 several years ago to get the premium version of my app and I still think it was a great investment.

Who listens to podcasts?

Well, who watches TV or plays football? Anyone who wants to. Anyone who can. Recent statistics suggest that 55% of the American population has listened to a podcast, and about 18% of people in the UK listen to at least one podcast every week. They are particularly popular in South America.

Some research suggests podcast listeners are ‘loyal, affluent and educated’ – and not necessarily young. I know a man in his mid 70s who likes nothing better than to plug in his headphones to spend some introvert time with the latest episode of his favourite science show.

Far from being the latest newfangled fad, podcasts are really pretty mainstream. It’s estimated that 14.6 million people in the UK listen to podcasts (numbers have shot up since the pandemic started).

They have been around for quite a while by today’s technology standards. They first began to gain momentum in 2004, to the extent that ‘podcast’ was declared word of the year by the New Oxford American Dictionary in 2005. There’s even an International Podcast Day™ on 30 September. Interestingly, organisers used to describe it as an opportunity ‘to educate current and future consumers about podcasting and advance the podcasting discipline’ but now simply say it is ‘a celebration of the power of podcasts’. An example, perhaps, of the impact of their recent popularity?

What can podcasts be about?

Part of the mainstream appeal comes from the huge variety of subjects that two million different podcast series inevitably bring.

Statistics indicate that British listeners are most likely to download podcasts in the genres of sport, news/politics and comedy (mostly produced by the ubiquitous BBC). There are apparently 18 different daily news podcasts in the UK alone but, sport, news and politics not being topics on which I wish to spend my leisure time, I subscribe to only a couple of the current top 100 iTunes podcasts, which is surprisingly few considering I follow more than 50 podcasts overall.

Personally, I prefer documentary-style factual content or autobiographical shows. In the mood for onstage anecdotes? Play The Moth. Hungry? Play The Sporkful. Fancy a bit of contemporary socioeconomic theory (and who doesn’t)? Play Freakonomics.

Podcasts can be fiction too, and the format allows for original approaches to dramatic audio production. I enjoyed the thriller Carrier (soon to be filmed for Netflix) but that’s because its star Cynthia Erivo can do no wrong. But most scripted shows are ‘docudrama’ style, often based on the discoveries of a (fictional) investigative reporter, and I find these get tiresome pretty quickly. I’d rather read a novel.

OK but how does all this tie in with editing?

  • There’s the obvious thematic link. Many podcasts are about language, linguistics, writing, publishing or editing. Our very own Denise and Louise host The Editing Podcast, a must-listen for writers and editors alike.
  • Then there’s the structural link. My favourite shows are less obviously related to my profession but, in my opinion, are just as immersed in narrative and storytelling, as I’ll demonstrate in the second part of my blog.
  • Podcasts are collated, compiled and edited just like books. Producers choose what to keep and what to remove. Like books, they have tropes and formats that we come to expect, from an introductory clip to capture our attention to carefully selected background music. John August, in the first episode of Launch (a podcast about publishing his novel), does a fine job of identifying some of these. (He’s also very nice about copyeditors.)
  • Listening to podcasts improves my general knowledge. You can choose which podcast you listen to but you don’t necessarily know what they’ll be talking about so you never know when the history of barbed wire, the story of Wigan Casino or the fact that certain species of baby spider eat their mothers will come in handy. Many’s the time that I’ve run to Google to find out more about something I’ve just heard.
  • Listening also increases my awareness of other cultures and beliefs, and (because I listen to so many American shows), my awareness of how other cultures view my own. Admittedly, I roll my eyes at the frequent, outdated criticisms of British food (Gastropod, I’m looking at you) or mentions of generic ‘British accents’, but it’s nevertheless illuminating to appreciate that stereotyping works both ways.
  • I spend so much time with the written word that spoken language provides a useful balance, with its own layers of meaning and surprise. Surely I’m not the only person not to know that apparently ‘pho’ (the soup) should be pronounced ‘phar’? (Disclaimer: I can’t be sure that it is – I just heard it in a podcast.)

Don’t know where to start?

With so many podcasts to choose from, it can be hard to identify the ones you’ll enjoy most. What are you interested in? Websites like Podchaser group shows by genre – business, technology, comedy, audio drama and so on – or check the iTunes charts to see what’s popular in the UK at the moment.

If you have a hobby or special interest, from quilting to paddleboarding, there’s bound to be a podcast (or several) that covers it. Or perhaps you’d like to hear the stars of your favourite 2000s TV show (like The West Wing, The OC and Gilmore Girls) reminiscing. Ten years ago, backstage gossip might have been in book format but today it’s actors and the production team interacting.

Just browse until something catches your interest and then stream it online – via a website or on Spotify – or download it to an app, which I prefer because it’s portable.

Still looking for ideas? The second part of this blog will give you a few more starting points.

About Julia Sandford-Cooke

Julia Sandford-CookeJulia Sandford-Cooke of WordFire Communications has spent more than 20 years in publishing. When she’s not listening to podcasts, she writes and edits textbooks, speaks very bad Dutch and posts short, often grumpy, book reviews on her blog, Ju’s Reviews.

 

 

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: Listen by Nick Fewings; podcasting set up by Will Francis, both on Unsplash.

What editors need to know when asking authors questions

The Art of Querying, a new CIEP course, is on its way. Its creator, Gerard M-F Hill, gives
us a speedy tour through questions and queries, and what the course offers editors
and proofreaders.

Is the current King of France bald?

Questions are of many kinds, and not all of them are good questions – or even answerable.

Whatever you edit – advert, magazine, novel or research paper – you soon start asking yourself questions. What does this mean? Where did those come from? How am I supposed to know that? Is that all? Or even just: why? Of course queries should be clear and concise, but it’s good to be constructive too. What makes a good query?

Before you fire off a query, ask yourself what the problem is. You need to have a reason for asking, because the author may not think it is a problem at all. You first identify the problem by analysing what is bothering you. As a result, you will craft a better question and often you will identify an answer (or answers); then the author just needs to say yes (or no, not exactly … more like this).

Might I suggest?

As queries take up the author’s time (as well as yours), it is only common courtesy to keep them as few and as short as possible. So you need criteria to decide when to ask a question, and you also need a range of suitable formulas that you can adapt for each situation. Good questions will help to ensure that you get a usable answer.

Queries can be short, but they don’t have to be abrupt. It pays to be diplomatic. There are good ways to approach an author, to frame a question and to follow up an incomplete answer – and there are some even better ways.

Does it match the brief/blurb?

Who is this publication for? What will readers want to know? What will they expect to find? What are they expected to know already? Will they know all these facts, names, words, idioms, allusions or connections? Will they resent the presentation as either patronising or trivialising?

As an editor, you ask yourself such questions because they are a big part of the expertise that you offer and that your client is paying for. A publisher does not wish to hear of such defects from unimpressed reviewers or disenchanted readers.

Does it make sense?

What is the writer trying to say? Are they getting their message across? Does it make sense? Why is this different from that? You ask yourself such questions on behalf of the reader, who should not be left to wonder and has no way of asking the author to explain.

If it doesn’t make sense, if the plot or proposition doesn’t add up, if defective grammar is stuffed with malapropisms or other unsuitable words, the reader will soon drift off and never return. The editor aims to prevent any such crisis by smoothing the reader’s path so they can be informed, educated or entertained without being tripped up, distracted or misled.

Are you happy with this?

Where possible, make it easy for the author by presenting your query as a simple choice: A or B? This, that or the other? Would this [rewritten sentence] represent what you are saying?

Have forgotten something?

It’s easy to see that ‘you’ is missing in that sentence. It’s not so easy to spot when a whole topic or aspect of a piece, or the dénouement of a subplot, has been overlooked. The questioning editor keeps a lookout for content that the reader may be expecting, but which is not there.

Easy questions

Why is water wet? This penetrating question from a thoughtful child nonetheless demonstrates that ‘the greatest fool may ask more than the wisest man can answer’, though children are not fools. The saying is often attributed to King James I and VI.

In checking the reference (as all good authors should) I found to my surprise that the aphorism did not come from the wisest fool in Christendom, but from Charles Caleb Colton’s Lacon, published in 1820. In non-fiction, references – inadequate, unconvincing, mangled or missing – usually generate half your queries.

Here’s the answer!

Between 2010 and 2019 I regularly ran a session at the SfEP conference on The Art of Querying, and since then I have been expanding this workshop into an online course. It begins with the whole question of questions. For a start, what do you need to ask yourself? Can your author query be answered at all? Is there only one way to answer it? Could it be misinterpreted? Does the text assume the answer to an unspoken question?

The course next looks at questions to ask the project manager, with a checklist, and how and when to approach the author, with examples of how to do it and what not to do. This section discusses practicalities, from typefaces to time zones, alongside the principles and professional ethics that underlie all editorial queries. It Looks Funny examines your five options before you ask anything, followed by advice on formulating queries and notes, with six rules to help you.

Readers struggle with four major problems – inconsistency, ambiguity, omission and error – and each of these topics has a whole section of the course to itself. Different types of content have their own pitfalls, so there are sections devoted to prelims, narrative and argument, vocabulary and terminology, references, tables and artwork.

The Art of Querying is meant to be instructive, stimulating and enjoyable while extending your editing knowledge and skills, with lots of questions (and answers), well over a hundred real-life examples, copious but concise study notes and a variety of exercises to let you think through different solutions, along with a decision tool to determine whether and what to query, six rules you can follow and a dozen checklists for you to download and use. The Art of Querying is also (I hope) a good read and good fun!

Find out more about The Art of Querying

About Gerard M-F Hill

After several years teaching and 16 years driving heavy lorries, Gerard retrained as an indexer and copyeditor. Since 1990 he has worked on over 500 books and mentored over 100 proofreaders.

As a director of SfEP (2007–16) he devised the basic editorial test used by CIEP and as chartership adviser (2016–20) he worked with the chair, Sabine Citron, to obtain the institute’s Royal Charter.

 

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: question mark by Emily Morter; Answers 1km by Hadija Saidi, both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

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.

How to attract new clients by diversifying your editorial skills

Can you get more business by extending your offer beyond core proofreading and editing skills? Margaret Hunter knows this works, and she suggests ways to develop your own diversification plan.

Here’s what I’ll be looking at in this article:

  • Why some clients like working with multi-taskers
  • What sorts of skills and knowhow add value for clients
  • Working out what you can add to your business offer
  • How to use this to diversify your client base and grow your business

Why some clients like working with multi-taskers

They don’t want to be involved in the minutiae

I have two main types of clients who value that I can do more than ‘just’ edit for them: businesses/organisations and independent author-publishers. They don’t know all the ins and outs of the traditional publishing workflow – and they don’t particularly want to (or have the time to) manage different people doing the different tasks required. They want someone to trust that they can hand over their raw text to who will do what it takes to make it publishable.

It’s efficient and cost-effective

We’ve come a long way from the inefficiencies of paper-based editing, and content collaboration tools are evolving all the time. Why pay a graphic designer to rekey the amendments that the client has already paid a proofreader to mark up on a PDF if the proofreader could make the changes direct in the first place? If draft text doesn’t fit the page layout, the copyeditor is usually the best person to suggest a solution, so why not save time and money by giving an editor with the right skills access to the design file, rather than toing and froing with the designer?

But don’t take my word for it

Here’s what one of my clients says about why using a professional with multiple skills is an attractive offering for her.

Working with editors who are able to put documents into InDesign layouts as well as editing the content makes my life so much easier. Knowing that I can hand over this additional element means that one person can support a project from end to end. Familiarity with the copy means that editors can make informed decisions about layouts or provide advice working within branded InDesign templates to make sure that formatting and content work together.

Skills and knowhow that add value for clients

Clearly, what you can offer in the value-added line depends on both you and your client. You have to actually have the additional skills or knowhow and your client has to want them. That may mean doing some research on what your target clients publish and how they go about it. You could of course start by asking your existing clients whether there is anything else you could do for them to make the process more efficient.

Many businesses in particular already have streamlined content publishing processes that work for them, and asking your client to explain how they work may reveal somewhere else that you can get involved. On the other hand, some clients may be stuck using a process that would benefit from some fresh thinking or a different approach, so why not suggest one?

We editorial types know that publishing a text is not a simple, straight line from author to output, but a web of many ultimately ‘invisible’ tasks. If you can offer a number of those tasks, that makes you a better prospect for clients who are looking for the least complicated way to outsource their project.

What can you add to your business offer?

For me, my main value-added offerings are my skills in and knowledge of design, layout and formatting. I have secured some regular clients because they were specifically looking for experienced copyeditors who also knew their way around InDesign and could therefore be trusted to work directly in the layout files. In some cases they have already used another professional to set up their templates, leaving me free to ensure an efficient process by editing in Word then doing the final layout in the client’s template.

I also work with authors who are publishing independently. Typically this might be someone writing content to promote their business. They know their topic, but they may not have much idea of how to write about it or how to get it published well. Here again what’s attractive is that I can offer them more than one part of the process. I’ll edit the words, but I’ll also steer them through other aspects of the publishing process so they end up with the files they need to publish a professional book or document and an understanding of the ancillary tasks they need to do or manage. Possibly the most valuable thing I offer these clients is peace of mind that they’ll not be embarrassed by doing things in an unprofessional way.

I’ve developed my skills (and confidence) over the years so that I understand when to offer more than strict editing of what a client has written or to suggest something different from what they’ve asked for. That might be rewriting the bare bones of a text into a better voice for the intended readers, or suggesting a layout that breaks the information down into user-friendly chunks.

When you’re not familiar with the publishing process, you’re unsure of who does what, you don’t know where to look for help and you’re not entirely sure what your text needs anyway, having someone make sensible suggestions for the specifics of your project is immensely valuable.

What, then, could you offer? Perhaps you have experience of getting permissions for quoted works, or you’re skilled at writing marketing copy, or you were a graphic designer so can supply quality images. Or maybe you know a great book cover designer, ebook formatter or copyright lawyer and you could team up to offer a package service. Think sideways.

Diversify your client base, diversify your skills

To help you identify the added-value services you can offer, first have a think about your client base (or aspirations). It seems from what I read regularly on the CIEP forums that many people entering our profession (and some who have been around for a long time) are thinking too small. They associate editing and proofreading with publishers, with books.

If you shift your mindset and start from the base that anyone who writes words for public or organisational consumption (in any format) might need editorial support, the potential client world is your oyster. Of course, as with any oyster, you may have to work hard to find your pearl.

Once you start thinking outside the box about who your clients might be, then you are free to explore what they actually need and what bits of that you can do for them.

But start on solid ground

Before you get too far into diversification, check that your starting point is a solid one. If you’re offering any sort of editorial services professionally, make sure you’ve got a good grounding in the core skills of copyediting and/or proofreading, and have a plan in place to keep your skills up to date through regular continuing professional development (CPD). It’s not enough to have an interest in words and language, a degree in English Literature or be the go-to person in your office for spotting typos.

Think like an electrician or an accountant, or anyone else preparing to offer a trade service, and get the right training to justify taking people’s money and assure them you’re providing a professional service. That’s probably not going to be from a quick one-off course that offers you an easy route to a ‘qualification’ (who’s judging?) with the promise of earning loads of money working from home. It takes grind and reliable study material.

Even if you think you’ll never work with clients in the traditional publishing industry (I’m talking mainly books here), it will still serve you well to learn the basics of long-honed publishing practice and the art of editing from a solid course.

But if you’ve not completed your core skills training yet, you don’t have to wait until you’re finished to start thinking about how you can supplement your core skills and add value to the services you offer.

So, what’s your added value?

It’s over to you now to start thinking (and planning and learning). As with all good marketing approaches, start with your clients, not you. What tasks do they need done? Can you do them, or learn to?

If you’re stuck for ideas, why not take a look at the CIEP’s Curriculum for Professional Development? There are enough areas for CPD there to last an editorial lifetime. Perhaps one of those could turn out to be that special thing that makes you the go-to editorial professional for the added value you bring to a project.

About Margaret Hunter

Margaret Hunter has been diversifying her editorial services business since 2003 and trades as Daisy Editorial. She is an Advanced Professional Member of the CIEP and at the time of writing is the CIEP’s information director.

 

 

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: colourful flowers by Henry Lorenzatto; lightbulb by Riccardo Annandale,
both on Unsplash.

Posted by Abi Saffrey, CIEP blog coordinator.

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

A week in the life of a 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.