Tag Archives: specialising

Five tips for moving into a new editorial field

Are you looking for a new editorial challenge, or would you like to expand into a new area? Hazel Bird has changed the focus of her editorial business over the past few years and here she gives advice on how to enter a new field.

One of the best things about freelancing is that you have full freedom to evolve your business however you see fit. Sometimes this evolution will be leisurely – a new macro here, a new webinar there – whereas at other times you might want to grab your business by the footnotes and drag it bodily into a whole new paradigm.

Moving into a new field is one such potential business evolution, and it can be done slowly or at speed. I’ve had a go at both. After I started out in 2009, for several years I worked almost exclusively on academic content, but then over time I gradually accepted more and more work in other fields, such as a charity magazine and books on business and digital topics. But then, a few years ago, I decided I wanted to much more decisively pivot in the charity/business direction.

This post will recount some of my experiences and give suggestions on how to move into a new editorial field. Whether you do it circumspectly or more resolutely is up to you!

1 Use what you already know

The charity magazine I proofread during my slow evolution phase was the membership magazine of what is now the Royal Osteoporosis Society. I also sometimes proofread some of the charity’s materials aimed at practitioners in the field (researchers, doctors, radiographers, etc).

As a humanities graduate whose formal scientific education ended at age 16, I arguably wasn’t the best placed to work on such material. However, I was able to demonstrate familiarity with scientific concepts, terminology and editorial practices through the social sciences and psychiatry texts I’d ended up editing for my academic clients (which in itself demonstrates an earlier slow evolution, from humanities onto the edges of the sciences, albeit still within academia). I also had a strong personal interest in nutrition and fitness, which came in very handy when proofreading diet and exercise advice for people with osteoporosis.

The key thing is to know your limits. Had I been offered intensive scientific copyediting, I would definitely have turned it down. However, I felt quite confident proofreading expert-approved text – and in fact my relative ignorance sometimes came in useful by making it easier for me to see things from the perspective of the reader (potentially a person newly diagnosed with osteoporosis and with very little idea of what this meant).

2 Understand your role in the relationship

Sometimes moving fields means working with a whole different type of client. It’s therefore important to understand how clients in your new field will expect the business relationship to work.

For example, taking two extremes from my career, there are big differences between working with academic packagers and working with large non-profits. In the first case, the packager usually sets the terms and fees and establishes the standard of work required. They generally have a good understanding of how publishing works, and there often isn’t a great deal of client management needed beyond managing queries helpfully and submitting and chasing invoices.

In the second case, you’re much more in the driving seat. The client may have very stringent editorial standards. However, they may also have comparatively little practical experience working out how to actually achieve those standards. There is also more of a need to manage the relationship through onboarding, terms and conditions, and ongoing negotiation of fees.

Some of what’s expected you’ll only find out after you begin a working relationship with a specific client. However, the next tip may help you to get some clues about the field in general …

3 Know their world and speak their language

If you’re brand new or a relative outsider to the field you want to move into, there’s a world of nuance that you won’t understand (yet). You’ll need to learn all the specialist terminology – and then when and for which audiences it should be used (versus when the audience will deem it unhelpful jargon).

It can therefore be helpful to follow relevant people on social media – both practitioners (ie potential clients) and other editors who already work in your desired field. Pay attention to the words they use and how they talk about concepts. Read the kinds of publication you aspire to work on. And obviously you can pick up relevant books, attend webinars and industry conferences, and consider getting a new qualification or two. Once you start working in your new field, you might also want to add a bit of padding into your schedules where possible, to enable you to read around topics with which you’re less familiar.

Another crucial place where you need to know your potential clients’ world is in your marketing. This is one I’m still working on, but the point is to speak their language on social media and in your blog posts, quotes and so on, so that you’re identifying their pain points and showing how you can help.

tiles spelling 'time for change'

4 Be prepared to be flexible

Ideally, opportunities in your new field will arrive exactly when you have time for them. Naturally, though, sod’s law means your dream client is going to send you an enquiry for work needing to be done tomorrow when you’re already booked solid for the next four weeks.

So, what do you do? You might choose to do the extra hours, especially if the new work might turn into a long-term collaboration or the fee is especially enticing. Alternatively, you might turn down this particular offer but thenceforth be more proactive, using the fact that your ideal clients are finding you as a confidence-booster to encourage you to step back from some of your old clients to make space for new opportunities.

Or you might do a bit of both. The right option will depend on your circumstances and other commitments. If you choose to dial down your current workload, it’s obviously important to ensure you have enough cashflow to tide you over if the enquiries don’t come flooding in as quickly as you hope. You can also pick your timing for doing this carefully – for example, by embarking on a chunk of CPD or a big business development project so you’re not left twiddling your thumbs if work is sparse.

5 Remember that you don’t need to be overqualified, just qualified

As Harvard Business Review says: ‘It is important, of course, to have at least some of the skills a job requires up front. But nobody should limit themselves only to positions for which they are already overqualified.’ (The article is about employed positions but the ideas apply to freelancing too.)

It’s easy to hold yourself back from new opportunities, imagining that everyone else is ten times more qualified than you or has a career’s worth of relevant experience. Our old friend impostor syndrome can have much to answer for here too. So it can help to remember that you’re not (yet) looking to be the best in your new field – just competent enough to offer your clients a sound, professional service that you can build on in the future.


Whether you move into your new field cautiously or with a bang, I’d say that the overall theme here is flexibility. It’s about using what you know but being ready to adapt your approach and mindset to a whole new arena, without making assumptions. If you can do that responsively and with imagination, putting yourself in the shoes of your new client and their readership, you’re unlikely to go far wrong.

About Hazel Bird

Hazel BirdHazel works with non-fiction clients around the world to help them deliver some of their most prestigious publications in areas such as charity and peace work, digital and technology, and business and leadership. An editor since 2007, she aims to see the big picture while pinpointing every detail. She has been described as ‘superhuman’ and a ‘secret weapon’, but until Tony Stark comes calling she’s dedicating her superpowers to text-based endeavours.

 

About the CIEP

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

Find out more about:

 

Photo credits: header image by Jan Huber on Unsplash, tiles spelling ‘time for change’ by Alexas_Fotos on Pixabay.

Posted by Eleanor Smith, blog assistant.

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

Building the best team for editorial project management

What is editorial project management?

White jigsaw pieces with the word solution written on them. The letter 'S' is being placed in position and it conveys 'bringing the pieces together'.

Editorial project management involves taking a piece of content (primarily words, and related images and figures) from its raw form to its published state – whatever content that may be, and however it is published. Traditional publishing companies have in-house editorial project managers (EPMs), as do many corporations, charities, government bodies, research institutions – any organisation that wants to disseminate information. Those EPMs come with a plethora of job titles: publishing manager, desk editor, content specialist, project coordinator, content lead, development officer. Some organisations use freelance editorial project managers, expanding their publishing team without longer-term overheads.

Editorial project management is, in one way, similar to copyediting and proofreading: every organisation will do it slightly (or completely) differently. A different workflow, a different content management system, a different scheduling tool, different reporting mechanisms, different responsibilities. Even within one organisation, no two projects will be managed in exactly the same way.

In many other ways, of course, editorial project management is a whole other beast. Whereas copyeditors and proofreaders often work almost in isolation – taking content, doing the necessary task and then returning the content – EPMs have to collaborate with internal stakeholders and external suppliers over schedules that cover a few, or many, months. That collaboration relies on the softer skills: communication, time management, the ability to quickly adapt and learn, cooperation, delegation, networking, organisation, and the ability to prioritise. Technical expertise is less important, but experience and training in other areas of the editorial process can be an advantage when briefing suppliers and checking their work.

Training for editorial project management

A lot of EPMs learn those skills and gain their expertise through on-the-job experience and training. Experience from life outside work – volunteering, running a household, playing an active role in a community – also contributes to building an EPM’s repertoire. To support that knowledge, or to provide a strong foundation on which to build a project management career, the CIEP has an Editorial Project Management course. This online course uses two fictitious projects to guide students through the publishing process and understand what an EPM does. The Publishing Training Centre offers classroom-based and online courses covering different aspects of project management.

What does an editorial project manager do?

The actual tasks involved in editorial project management vary depending on an organisation’s needs, but it’s very likely that, over the course of a project, an EPM will need to arrange for the content to be copy-edited, typeset, proofread (at least once) and indexed. That will involve sourcing, briefing and feeding back to the specialists carrying out those tasks. There will be liaison with the author(s) – perhaps also the commissioning team, rights and permissions experts, designers and illustrators. An EPM has to keep all these people and their related tasks (and budgets) on track, being aware of any issues and risks; if issues do arise, they need to be addressed appropriately and quickly so that they don’t snowball into bigger problems.

Building your team

A colourful (green, yellow, blue, red) set of children's wooden building blocks of diffferent shapes and sizes, with dots for eyes painted on them. It conveys building a team.

Freelance EPMs – whether an individual or a company – can be an excellent, flexible resource, enabling organisations to share the workload of a busy team for a specific time period. Those EPMs bring with them a fresh pair of eyes and experiences from other organisations and projects, as well as a network of trusted suppliers. They may also be able to take on other specific tasks in the workflow, such as copy-editing or indexing. Many freelance EPMs are CIEP Advanced Professional and Professional Members and have a listing in the CIEP’s directory.

A knowledgeable and approachable EPM can make a big difference to a publishing project – getting content out into the wider world requires more than box ticking. The right EPM for a project will not only produce great content but will also build good relationships and unite a team – it is the ultimate exercise in editorial collaboration.

A white woman (Abi Saffrey) with brown hair and glasses.Abi Saffrey is an Advanced Professional Member of the CIEP. She project manages, copy-edits and proofreads a cornucopia of fascinating material in her editing shed in Essex. Her office assistant, Gaston the Cat, provides no useful editorial support whatsoever.

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