Louise Harnby: To kick off, Jen, tell us a little bit about Salt – who you are, how it started, where you’re based and what you publish.
Jen Hamilton-Emery: It’s 12 years now since we published our first book, and 10 years since Chris and I (Chris is my husband – together we run Salt) gave up our corporate careers to give Salt 100% of our time and attention. I’ll never forget when Chris told me he’d handed in his notice – that month Salt’s sales were £200 and I feared for our future! But it’s been the most gloriously exciting rollercoaster ride; I’m pleased we decided to do what we did. We’ve always published poetry, and for the past five years or so have also published short stories – a genre that we felt was much-neglected and deserved some championing. Since then we’ve published novels and more recently taken on some wonderful editors, Nick Royle, Roddy Lumsden, Steve Haynes and Linda Bennett, who are developing our fiction, poetry, sci-fi and crime lists respectively, all of which launch this year. LH: You have an international author base. How do you find your authors and what are you looking for when you read the initial submission? JHE: Our editors are actively involved in their respective genres, reading magazines and journals, going to readings, reading reviews and so on. We are always on the lookout for new, up-and-coming talent, as well as publishing people who have already made a name for themselves through publication elsewhere. It goes without saying that we are looking for a high standard of writing, but also for books that people will find new and interesting that we can market and sell. We also run two prizes: the Crashaw Prize for debut collections of poetry, and the Scott Prize for debut collections of short stories. The quality of manuscripts we receive for these is outstanding – there is so much good writing out there! LH: I recently read AJ Ashworth’s Somewhere Else, or Even Here, an exquisitely written book of short stories that you published in 2011. To me the book felt like a perfect example of publishing with passion. John Thompson, author of Merchants of Culture (Polity Press, 2010), has written about the pressures on large, corporate presses to move away from high-risk publishing, and focus instead on so-called cash cows (celebrity memoirs spring to mind) in order to satisfy the demands of shareholders and venture capitalists who aren’t necessarily publishers at heart. It seems to me that this endangers the creative flair of the commissioning editor and limits the degree to which outstanding writers can find a voice. Salt, however, is a family-run, independent press. What does this mean for your publishing strategy and the philosophy behind your publishing vision? Does your independence give you more freedom to follow your heart? JHE: We are very lucky that have the freedom to publish what we want. However, each commission has to have both the heart and the head in agreement. Our investment of time and money in bringing a book to market has to generate a profit otherwise we’d go bust! I’m so pleased that you enjoyed AJ Ashworth’s book – thank you. It was a winner of the 2011 Scott Prize and has since gone on to be shortlisted for the prestigious Edge Hill Prize. It is a perfect example of "publishing with passion" – she is a new writer, working in a traditionally difficult-to-sell genre. However, on saying that, some of the larger publishing houses have recently started to make a big deal about publishing short stories – we like to think that we’ve done something positive in making it a sexy genre. LH: Can you tell us about the challenges that independent family-run publishers face in the current market and your approach to dealing with these? I’m particularly interested in the “Just One Book” campaign, which is one of the most creative and innovative methods I’ve seen from a publishing company in terms of engaging with its customers. JHE: Many independent family-run businesses are finding these economic times tough ones to operate in. The recession hit us early on and in 2008 we launched our Just One Book campaign, which encouraged everyone to buy one book – if enough people did it, we’d sell enough to keep ourselves afloat. The response was tremendous, with people across the globe spreading the word and buying our books. Thanks to them we are here today. We took the time after that to redesign Salt – by bringing in new editors and diversifying our lists we would reach a wider audience; we also revisited our distribution and marketing arrangements, including taking on the services of a sales team. LH: You award international annual prizes for first collections of stories and poetry. Can you tell our readers a little more about these awards and who is eligible? JHE: The Crashaw Prize and the Scott Prize are open to anyone living in the UK, Ireland, the US and Australia and are for debut collections of poetry or short stories. We don’t accept unsolicited manuscripts (we used to but were inundated and could never find the time to read them), but we saw that for many people with debut collections it was difficult for them to get their work in front of an editor. This was our way of giving them a way in to having their work noticed, and equally, for us to discover and breathe life into new talent. LH: What about e-publishing and Salt? The by-line on your website, “the home of beautiful books”, clearly demonstrates the care you give to the design element. How does this impact on decisions to publish digitally or in print? Is digital publishing something you’re looking to expand, in full or in part, in the future? JHE: We put a lot of effort into making our books as good to look at as they are to read and as a side-line we run The Cover Factory, providing cover design services to many of the large trade and academic publishers. We also put a lot of effort into our typesetting and properly think through the size of our books so the reader has an all-round positive experience reading them. As far as ebooks go, we’re rather late adopters. A few of our books are available in both print and digital formats, but it’s not something we’ve rushed into. However, we think now we’ll start making more of our books available as ebooks – they lack all aesthetics, but nevertheless seem to becoming more popular, so needs must. LH: How did The Cover Factory come about, what does it involve, and who are your clients? JHE: We’ve always had feedback about the high quality of our covers and over the years have been approached by other publishers asking if we would consider designing for them. Only recently did we decide that we would, though I’m not sure why we took so long! Cambridge University Press, Polity Press, Bloomsbury, and Taylor and Francis are amongst our clients. We enjoy the work and the challenge of working for different publishers across their various lists. You can see some of the work we’ve done on The Cover Factory's website. LH: And finally, Jen, what exciting projects do you have in the pipeline? Who are the writers we should be looking out for in the coming months? And what are your future goals for the press? JHE: Goodness, where to start! Well, first of all we are crossing our fingers for AJ Ashworth’s Edge Hill shortlisting, and novelist Padrika Tarrant, whose book, The Knife Drawer, has been shortlisted by the Authors’ Club. We have just published the 2012 edition of The Best British Short Stories, which is one of our highlight books, and we’re looking forward to the autumn when its sister, The Best British Poetry, is being published. Later in the year we’re launching our new crime and sci-fi series, including Blood Fugue by Joseph D'Lacey and In the Family by CA James, plus some wonderful debut novels, including The Lighthouse by Alison Moore, and the 2012 Crashaw and Scott Prize winners. Plus, to coincide with National Short Story Week, we’re publishing a star-studded anthology of stories designed to be read aloud: Overheard, edited by Jonathan Taylor. As for the future – well, we want to continue publishing the best books. And winning the Booker Prize would be nice. LH: Thank you so much, Jen. It’s been a pleasure. There’s plenty for us to look out for. And as a lover of the crime and sci-fi genres, I’m certainly adding D’Lacey and James to my watch list! Update: Since this interview took place, Alison Moore's The Lighthouse has been short-listed for the Man Booker prize. The Parlour's fingers are crossed!
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A note from Louise: This guest article from my colleague Dr Shani D’Cruze is a thoughtful assessment of the dissertation/thesis market for editorial freelancers. It reviews the reasons for the growth of the sector, the possibilities and potential problems for the proofreader and copy-editor (including ethical issues), and the guidance offered by education institutions and professional societies.
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As someone who not so long ago supervised and examined student dissertations and theses, and now offers to proofread and copy-edit them, I was interested when I found the online discussion board for the Society of Editors and Proofreaders preoccupied by the professional and ethical issues that student clients raise for SfEP members.
Although especially perfectionist students and those with dyslexia or similar conditions do seek professional editing and proofreading advice, the main constituency for proofreaders’ or copy-editors’ services are students for whom English is not their first language. (The issues are also somewhat different for students with dyslexia, for whom external proofreading can come under the rubric of “special needs” and, on a case-by-case basis, these days may be negotiated through their university.)
The growth of the international student community
The number of international students in UK universities has been rising for some time. The global dominance of English (and American English) as the language for political, administrative and academic communication – and the status of a degree from an English (or American) university – ensures that despite recent increased difficulties in obtaining visas for some students, the growing opportunities to earn a UK university qualification by studying outside the country, and concerns in some quarters that increasing student numbers will put undue pressure on resources and the student experience overall will deteriorate, international student numbers in the UK will go on rising, helped, not least, by a recent initiative from the prime minister (John Morgan, Times Higher Education, 19 January 2012; Eliza Anyangwe, Guardian, 16 April 2012; Claire Rodwell and Kyle Thetford, Cherwell, 3 May 2012). In 2010–11, 428,225 students in UK universities (17 per cent) came from outside the EU. International students comprised 70 per cent of full-time taught postgraduates and 48 per cent of full-time research postgraduates (IKCISA). In 2012 there are 67,000 students from China and 39,000 from India studying in the UK, and numbers from these countries are set to increase (Sean Coghlan, BBC News, 13 March 2012). The reasons for the universities’ readiness to recruit more overseas students are not hard to find. It has comparatively little to do with altruistic impulses towards the globalization of knowledge: these days UK universities can’t afford to be altruistic. It’s about hard cash. UK higher education has been struggling for some years against declining levels of government funding, and increasingly the funding they receive is allocated according to assessments of “excellence” in research and teaching. Today, while fee levels for UK and EU students are capped, universities can charge other students as much as the market will stand (Graeme Paton and Heidi Blake, Telegraph, 12 February 2010).
The challenges facing international students
Earning an undergraduate or postgraduate degree in your second (or third) language has its challenges, and so does providing a supportive learning environment for non-native English speakers. Universities want to be able to award good, academically sound degrees to the international students that they recruit: academic staff and departments are for the most part committed to providing a good learning experience for their students and the university as a whole is driven by the imperatives of maintaining “quality” and “excellence”. Nevertheless, as professional proofreaders and editors can testify, it’s no easy matter to write in fluent academic English when it’s your second language, even for someone who can handle everyday communication with ease. As an academic editor (and as a copy-editor) I’ve worked on many occasions with accomplished scholars, both postgraduate and faculty, whose research skills and conceptualization were far better than mine, but whose written academic English needed extensive editing to make it effective (sometimes to make it intelligible).
The challenges facing proofreaders and copy-editors
Judging from discussions on the SfEP discussion board, professional proofreaders and copy-editors have mixed views about working on students’ theses and dissertations. Some stick to the position that if it's meant to be the student's unaided work, and that is very strictly interpreted, there isn't any role for a professional proofreader. This has been argued to be particularly the case in arts subjects where the quality of expression is so closely integrated into the creation of meaning and argument. A bad experience with a non-paying or overly demanding student customer can also deter professionals. The PhD student expecting to find a proofreader for their 80,000-word thesis a week before their final deadline is not that uncommon. Others from the SfEP find that student clients tend to question every change or correction because of their lack of familiarity with academic conventions. Above all, students are perhaps the category of clients who are least willing to pay the rates recommended for this kind of work. Nevertheless there are now growing numbers of freelancers in search of work, and this together with the increasing number of overseas students in UK universities means that more of this kind of work will be commissioned, done and (hopefully) paid for. There are also, of course, a growing number of agencies offering to “improve” students’ work. Some of the services offered far exceed what universities or indeed most professional proofreaders and copy-editors would see as legitimate intervention in work due to be submitted for assessment. Free-market rules apply to the offer and purchase of such services, of course, and it’s up to the universities to police any consequent academic dishonesty. The problems are probably greater in undergraduate work, where students are being assessed on a series of smaller assignments.
Does proofreading improve grades?
From my own past experience as a marker or examiner I would be surprised to find that proofreading (as understood by professional colleagues) made a worrying difference to a student's grade. It might lift a miserable piece of work to what a colleague of mine used to refer to as a “good fail”, or maybe add a couple of percentage points to the grade for a sound or good assignment, but that's about it. Where students submit purchased off-the-peg essays or assignments re-written by commercial agencies, the abrupt change in the writing style usually makes the dishonesty obvious. My experience lies in the Humanities and Social Sciences; I can't speak for scientists. For (longer) postgraduate dissertations and theses it’s even more unlikely that extensive academic dishonesty through re-writing by a commercial agencies (or anybody else) would go undetected. Supervisors see samples of students’ writing over the whole period of the project and guide them in the development of the research and the structuring of the written dissertation. Any sudden last-minute change in fluency or “voice” would be highly suspicious. A postgraduate thesis or dissertation depends upon extended and detailed research. Examiners are assessing that project as a whole, including its design, originality, how it contributes to academic knowledge in its field, its findings and how they are evaluated and discussed. The standard of academic writing and presentation is important, but a conscientious and diligent research project will be evident to examiners despite awkward, ungrammatical prose in the final dissertation. At the same time, the work of a proofreader in cleaning up (not re-writing) the thesis, done professionally and responsibly, is as much a service to the examiners and to future readers as to the student, whose hard work in planning, researching and shaping the argument is then better revealed in the written work. The crucial issue is transparency and clear guidelines.
The US and Australian approaches
In the USA the use of outside services seems more generally accepted, providing the extent of the intervention is disclosed. In Australia, a formal and extensive code of practice, the Australian Standards for Editing Practice (ASEP) (see Guidelines for Editing Research Theses download) is embedded in universities’ degree regulations. Across the country therefore, students, supervisors, examiners and universities know what to expect and what level and what kind of intervention is acceptable. For example, the regulations for Macquarie University [3.1.2], referring to the levels of editing specified in the ASEP, state that supervisors should be aware that a student is using a professional editor, and that the intervention should be restricted to the detail of the text in language and illustration (Standard D) and completeness and consistency (Standard E). Any advice on structure (Standard C) should be provided only as exemplars (HDR Guide). ASEP require that editing or proofreading should be carried out on hard copy so that students themselves have to consider each editorial suggestion and make the required change themselves. They also specify that the editor’s name and a statement of the service provided should be appended to the thesis.
The UK approach
In the UK, universities each set their own approach to the proofreading and copy-editing of students’ work. A quick straw poll of my academic colleagues and contacts showed that most had little knowing involvement with externally proofread theses. It can’t necessarily be assumed, however, that students were not availing themselves of outside services, only that they weren’t consulting with their academic supervisors about doing so. Indeed, without clear guidelines and fully resourced practice much of the work of helping students improve their written English falls to academic supervisors, whose workloads have increased exponentially over the last few years. In the good old days, when academic routine generally included time for coffee and the broadsheets in the Senior Common Room, written English coaching was generally handled informally and could be passed down the line to keen junior (not infrequently female) members of staff. It is rare these days that even the most dedicated supervisor has the time to work closely with a student, instructing on the written presentation of research. Dedicated study skills departments have filled some of this gap. Many universities provide high-quality ESL training that aims to equip students with the English language skills they need, but comparatively few have clear written policies or guidelines about proofreading. A member of staff in one ESL department (in a university with no written guidelines or policy in this area) described to me how regularly they fend off requests from students to proofread or edit their work. It’s not uncommon for UK PhD regulations to contain a statement such as this: “The thesis shall include a statement declaring the work to be the candidate’s own and acknowledging any assistance received” (University of Westminster Regulations, 14.3) but such provisions are generally aimed at situations such as in the sciences where a student’s PhD research forms part of a larger collaborative project. Often general guidelines to students seek to remind them of the importance of error checking in the final stages of thesis preparation; for example, this from Reading University: “… leave yourself enough time to have a final read through of your dissertation to pick up any lingering mistakes or typos”. It all sounds so easy. Or this from Birkbeck, apparently drafted with input from exasperated PhD examiners: “You must make every effort to correct errors before submission. It is not the task of examiners to act as editors and/or proof-readers [sic] of a thesis.” Essentially, of course, a PhD thesis or Master’s dissertation is a form of examination and as such should be the student’s own work. At University College London the plagiarism regulations state that “Recourse to the services of … outside word-processing agencies which offer correction/improvement of English is strictly forbidden” (also quoted in M. Macdonald, EM, Jan/Feb 2008). However, the situation varies, even within different colleges of London University. Currently (2012) the LSE issues guidance on students’ use of professional proofreading services, which is explicit and brief (see LSE). The key section states that a third-party external editor or proofreader cannot be used to develop ideas and arguments, to trim an over-long thesis to regulation length, to help with referencing or correct information, or to translate the thesis into English. What is permissible is for a proofreader to correct spelling and punctuation, to ensure correct grammar and syntax, to clarify the writing, for example by shortening sentences and changing to the active voice, to format footnotes and endnotes, and to make headings and page numbers consistent. These guidelines do permit online proofreading using tracked changes, but require that the student be responsible for reviewing and accepting changes. In the present situation, this sort of effort to render transparent the proofreading/editorial help received seems the most enlightened for all parties: students seeking to produce the best thesis they can, universities seeking to maintain academic quality and a good student experience, and proofreaders and editors seeking to earn a crust but also to maintain professional integrity and standards.
Current advice and moving forward ...
Professional organizations can also play a key role. The SfEP, for example, has a comprehensive published booklet (Proofreading Theses and Dissertations), aimed principally at members but more widely available. Excellent articles have also appeared in the society’s magazine, Editing Matters. More, however, could be done, even though this would mean more work for the organization and its officers. Universities have departments that focus on study and research skills and also on supporting international students. Making direct contact with such departments and encouraging them to have a direct link from their own web pages to a page on the SfEP website specifically addressed to dissertation/thesis writers would (a) promote the advantages to students in using the editing services of SfEP members and (b) provide useful information for students, supervisors and examiners about what SfEP proofreaders/editors expect from student authors. Ultimately, spreading the kind of good practice adopted at LSE or working towards the kind of editing standards adopted in Australia would seem the most intelligent and practical way to manage this growing trend.
My thanks are due to Patrick McMahon, Judith Rowbotham, Mandy MacDonald, Louise Harnby, and to the collective wisdom of SfEP members on their discussion board.
Copyright Shani D’Cruze 2012
About Shani: After more than fifteen years as an academic historian in UK universities, Shani D'Cruze moved to Crete where she combines olive-farming with research and writing, editing, and copy-editing. View her LinkedIn profile.
An important element of successful freelance proofreading is that of knowing your market – in order to build up a solid client base you need to focus on your strengths and understand what your clients need from you.
The sector you know … Here’s an example of a sector I know: When I work for publishers I’m strictly a proofreader. I worked in social science academic publishing for years. When I started down the freelance route I did the appropriate training; then I targeted the market I knew best and in which I had experience. Academic publishing companies have very clear-cut editorial processes and the roles of development editor, copy-editor and proofreader are clearly defined. In this sector the briefs and levels of intervention vary from press to press, but the editorial process is the same, broadly speaking.
Rather, my job is to check that the typesetter’s interpretation of the copy-editor’s work is correct, that the page layout is acceptable, and that any remaining typographical oddities, spelling, punctuation or grammar errors haven’t slipped through. There may be specific instructions from the client to leave alone or pay attention to specific issues around house style, so the brief for each project will be something I have to pay careful attention to. However, It is extremely rare that I am faced with page proofs that require heavy intervention. That would indicate that something has gone seriously wrong earlier in the chain.
Sectors you don’t know …
If you are used to working for a particular type of client (businesses, students, self-publishing authors, publishers), or in a specific subject field (STM, social sciences, fiction, company reports, theses), don’t assume that your clients’ processes, needs or expectations will be the same. The term 'proofreading' means different things to different people. The chance to diversify is exciting, but proofreaders need to take care that they understand what the client expects. We owe it to our clients and we owe it to ourselves. Failure to do so can lead to a lot of head-scratching at best, and a dissatisfied client at worst.
What to watch out for …
PhD student: 'Dear Ms Harnby, I need someone to copy-edit/proofread my media studies thesis … English is not my first language … my supervisor says I need some things to be checked, too …' This client doesn’t understand the difference between copy-editing and proofreading; they think 'it’s all the same kind of thing'. While they might benefit from the latter further down the line, they’re definitely asking for the skills of the former in this case. Trade publisher: '... we're on a short deadline and haven't had time to compile the index. Would you be able to fit this in?' Indexing is an art all of its own. The client is asking for a skillset completely separate from either copy-editing or proofreading. Self-publishing author: 'Dear Louise, I landed on your Twitter page and wondered if you would be free to proofread my book. I also need some advice on how the book reads and any feedback on the plot and characters … this is my first novel so I’d appreciate any help you can offer me.' This client is unfamiliar with the various stages of the editorial process. They need a development editor, not a proofreader, before they start worrying about whether the words are spelled correctly or the apostrophes are in the correct place. Trade publisher: 'Dear Ms Harnby … are you free to take on a commercial non-fiction proofread? … We like our proofreaders to be very interventionist … feel free to recast anything that seems clunky or in your opinion doesn’t work …' It’s not that this client has a fabulous deal with their typesetter, meaning heavy revision at this stage in the process won’t hurt the bottom line. It probably means that copy-editing has fallen victim to cost-reduction measures. I suspect I am being commissioned as a proofreader and paid proofreading rates, but the client wants me to do something more akin to a copy-edit of the page proofs. Local business: '… we found your details in the Yellow Pages and see from your website that you have extensive experience of proofreading management and business titles … we need a 70-page internal report to be checked for grammar, punctuation and spelling mistakes. The report was compiled by eight individuals so we’re also keen to ensure consistency of the writing style …' This client needs a proofreader for the first element of the job and an editor for the second. The above are all examples I’ve encountered in requests for my 'proofreading' services.
What should you do?
It will be tempting to take the work, and maybe you should. After all, you’ve secured this fabulous opportunity to diversify your client portfolio, perhaps in a sector that you’ve wanted to exploit but didn’t know how to access. Proofreading, indexing, copy-editing and development editing are not the same thing. The input is different, the output is different, the skills are different, the training is different, and the rates of pay are different. Some potential clients may understand this but be looking to get a different level of intervention at a bargain price. Others will simply be unaware of the distinct roles within editorial freelancing. The rate of pay is not in my opinion the most pressing factor here. The most important issues are:
Are you also a trained copy-editor or indexer? Can you put on these other hats and do they fit comfortably? If so, you’re in a position to take on the work if you want to. If you do not have the relevant skills, you could find yourself coming unstuck. You may not fulfil the client’s expectations. That they aren’t fulfilling yours is irrelevant because you’re no longer in control. You might do a good job, but you might not. You won’t know because you’re not a copy-editor/development editor/indexer. If you anticipate a problem before you receive the work, you can nip the issue in the bud. Explain your understanding of the various editorial roles clearly to the client and make it explicit what services you are prepared/able to offer. This will ensure there are no surprises at either end of the process. If the problem isn’t obvious until after you’ve received the proofs or early on in the job, and you don’t feel comfortable, say, copy-editing material you’ve been hired to proofread, spell this out to the client as a matter of urgency. Why? Because it puts you back in control. If you lose the work or the professional relationship comes to a close, it’s because you’ve decided to not work with the client, not the other way around.
Wrapping up …
Diversifying your client portfolio and the types of work you are doing can be a very attractive proposition, particularly if
Ensure you have the relevant skills and a solid understanding of what is required for the sector you’re entering. Finding yourself out of your depth will hurt you as much as your client. For an overview of the different levels of editing, see my free webinar. For information on indexing, read the guidance from the Society of Indexers. For advice on editorial training, contact your national or regional editing society – a list of the primary worldwide societies is available here.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
A note from Louise: I’m very pleased to welcome my colleague Kate Haigh to the Parlour. Kate is an editor and proofreader based in the UK who works extensively with non-publisher clients. Kate’s agreed to talk to me about one particular segment of her portfolio, the business client.
Louise Harnby: Welcome, Kate. And thanks for taking the time to share your experience with us. My own client base is very much based in the publishing house sector, so I’m keen to get a sense of how things differ when working with a business client. First of all, can you tell us what kinds of material your clients ask you to work on?
Kate Haigh: Hi and thanks for inviting me to participate in this and give my views on working for business clients. I would like to start by highlighting that my experiences may differ significantly from other people’s as the scope of non-publishing work is so broad; different people may have different USPs or ways of approaching these clients. On the whole, though, I tend to work on three main types of material – websites, reports and marketing material. Different clients tend to use me for different services, i.e. I have one client for whom I solely proofread the website, whereas another regularly sends me reports but no web or advertising work. It means the work is very varied, which in my opinion is a bonus, and also means I learn a lot of random things. LH: And are you editing, proofreading, writing, or a little bit of all three? And how do you think the job differs from work with other types of client (publishers, self-publishing authors or students for example)? Are the requirements different and, following on from this, does your method/approach vary accordingly? KH: To be honest, it depends on the client. Some of them aren’t native speakers/writers so I edit quite heavily and am given free rein, while others just want me to tidy up documents and ensure consistency. The lines are more blurred between proofreading and copy-editing, especially as almost all of the work is done on-screen – it doesn’t tend to have pagination issues or print deadlines in the same way that book or magazine work may have. I don’t have the same level of querying as I do for self-publishers or students; most business material is black and white with limited grey areas. I may query something occasionally but it’s usually a content issue; the client handles the query internally so I don’t deal with it any further. LH: When proofreading for academic publishers, I’m given a very clear brief and a house style guide. Is it different with corporate clients? Is this something you have to work with them to establish when you first make contact? In other words, is the brief a more dynamic affair that evolves as the work proceeds or are the clients clear from the outset what they want from you? KH: Again, it can depend on the client. Some have style guides in place, others ask me to create one and then implement it, while others are only concerned with consistency in the one document I am working on at that time. On the whole, the brief is clear, though, and I know the level of input I can make, though I guess that comes with experience for each client. One client recently sent a document that was theoretically in the final print stage so we agreed I would only make essential amendments; in future I will see the work earlier and they want me to make stylistic changes and copy-edit the document as I see fit. I think overall the issue is more fluid, and definitely more so than with academic and non-fiction publishing, where there tend to be so many rules. For clients who are new to using a proofreader or editor, I can play a big role in shaping my job and their expectations, which I personally enjoy. However, if you’re keen to be told what to do or have a set function to follow, this type of work may not be quite so suitable. LH: The editorial function is an established part of the process in most traditional publishing houses. Unless a press is a small, independent publisher that has to handle all of its editorial work in-house (for economic reasons), it’s not difficult to persuade them that our services are of value. I've tended to assume this isn’t the case in the business market. Do you actively market yourself to this type of client, do they come to you? Regarding either option, what are your most effective marketing outlets? KH: I find that businesses with active marketing departments are often already aware of the benefits of proofreading but no longer have capacity in-house (horrible to admit but the recession served me well there), so they come looking or just need a tiny nudge to make them aware of my existence. I got totally lucky with my first and most repeat client – I met a PA at a training event about writing copy for the web; she ended up giving me a lift home, took my card and passed it to the marketing manager. The rest, as they say, is history. Other companies looked for me, and thanks to my website, the SfEP directory and other online presence, I appear to be relatively easy to find. The best marketing I have actively done has been local networking. Some businesses have then found out about proofreading and asked me to work with them as they never even knew such people existed, while word-of-mouth from those events has served me brilliantly. It takes time to reap rewards with networking, at least it did for me, but has been invaluable in the longer term. It’s the face-to-face element that works, and the rapport you build over regular breakfast meetings at some ungodly hour. On the whole, I don’t think the clients I met at networks would have responded to a cold call/email but over time they get to know you and trust you – that’s what leads to the work. I also think that for business clients, a website is essential, not just for enabling people to find you but also for adding integrity and a professional look. Unfortunately there are a lot of people who claim to be proofreaders when perhaps they’re not qualified for the job, so having a website with information about you, testimonials, contact details, etc. really helps a client to relate. I guess that links in with the face-to-face element of networking. LH: Do you mind talking to us about the rates of pay? I’ve blogged about the different rates of pay within the publisher sector, and how the suggested minimum rates (as defined by the SfEP) aren’t always in line with the reality of the market place. Would you say that the corporate sector is more lucrative for editorial freelancers? KH: For business clients, my rates are almost never lower than the SfEP guidelines so in itself that possibly makes it more lucrative than the publishing industry. I think awareness of other proofreaders is lower in the corporate world and this works in my favour. When a company has decided they have the funds and the need for a proofreader, I think they value that service highly. Also, they get used to working with you, your style, and the way you interact, so they’re less worried about squeezing every penny compared with publishers, or at least that’s my perception. I have one or two clients who pay quite a bit more due to the heavy editing/re-writing element, or other functions, but on the whole I charge in line with the SfEP’s rates and no company has ever quibbled. LH: If you had one piece of advice to impart about working for business clients, Kate, what would it be? KH: Ultimately, I think people need to make a positive choice to work in business proofreading rather than seeing it as a fall-back option. I like the commercial world and what it encompasses, and find working on the associated content interesting. If, however, people are doing it because they can't get work in their chosen field, it could be very boring. This would make the job less fulfilling and the resulting loss of focus could lead to an increased error rate. Sorry if this sounds dogmatic, but it's something I feel very strongly about; being able to really focus on your clients’ materials and their particular needs is important, whichever area you’re working in. LH: Thanks very much, Kate. I’ve found this hugely informative and I’m sure that many “newbies” and seasoned professionals working in other areas will learn a lot from your experience.
About Kate Haigh
Kate is a professional proofreader and owner of Kateproof. Feel free to follow her on Twitter at @Kateproof or link with her via LinkedIn.
If you’re proofreading onscreen, either with my proofreading stamps or your software’s comment and mark-up tools, it’s worth spending a few minutes to set up the various onscreen elements in an ergonomic fashion as well as familiarizing yourself with basic keyboard shortcuts.
Some aspects of onscreen work are speedier – searching for and implementing global changes, for example – while moving between the various mark-up tools is not as quick as using a hand and pen. There are, however, things you can do to compensate and make your onscreen experience more effective.
1. Make the toolbar work for you Shift the most-used elements on your toolbar so that they are near to each other and on the side of the screen with which you operate your mouse. These elements might include the typewriter, mark-up tools, text tools, and stamp and save buttons. Use your mouse to click, hold and drag the elements across the toolbar ribbon.
2. Use the stamps palette
Use stamps of proofreading symbols to complement the comment box and mark-up tools in your PDF editor. You can create your own or use the sets I’ve already developed. They’re available free of charge here. If you’re unfamiliar with these, see PDF Editing: Making the Most of the Stamps Tool. Remember to keep your stamps palette open; it will save you time when selecting each stamp you want to use. In XChange you can minimize the size of the symbols as they appear in the palette (see the highlight in the screenshot to the left). This enables you to see a greater number of stamps while you are working without having to scroll up and down the palette. In Acrobat, the palette is not as user-friendly, so use a second screen to get the best of the display. In XChange, number similar stamps sequentially so that they appear in a logical order. This will make it easier to find the stamp you need, particularly if each palette contains a lot of symbols (If you’ve downloaded my XChange stamps simply change the number-name in order to re-sequence them). It's useful to keep your palettes of different-coloured stamps separate so that the palettes don't become overly cluttered. Again, this will enable you to locate the stamp you need more efficiently.
3. Hook up a second screen
I generally use a laptop, but I hook up my old desktop screen to enable me to use two screens at once when I’m doing onscreen work. This works well on three counts:
4. Utilize basic keyboard shortcuts These are my preferred keyboard shortcuts when working with PDFs. There are many, many more but I like these because all but one can be managed easily with one hand. Alt Tab: this is one of my most-used keyboard short cuts and is especially useful if you only have one screen to work on and need to flit between different programs or files. Ctrl S: save Ctrl C: copy Ctrl X: cut Ctrl V: paste Ctrl Z: undo Ctrl A: select all Ctrl Shift F: opens search window 5. Bookmark key pages If you refer back to the same key pages time and again and your client hasn’t already bookmarked these (contents, part titles, chapter first page, bibliography, index etc.), it’s easy to do it yourself and will save you time. Use Ctrl B to open the bookmark function in Acrobat, PDF-XChange or PDF-XChange Viewer and name your page. 6. Use a snipping tool to make your own quickie stamps If you are constantly using a particular combination of mark-up symbols in a piece of work (e.g. you have to change A to Å many times), you can make your own quickie stamp using a snipping tool. Windows supplies this, but if your operating system doesn’t there are plenty of free alternatives online. Pin it to the task bar at the bottom of your screen to access it quickly. In the case given above, you would use the typewriter to print Å on your PDF, followed by the replace-slash stamp. Use your snipping tool to draw round both marks and save. Then import your new stamp into your palette. Now you only have to make one click, not two, in order to make the margin mark.
Related articles
To access the stamps files, see the article Free Downloadable Proofreading Stamps. For a more detailed look at using stamps for onscreen work, go to PDF Editing: Making the Most of the Stamps Tool. For installation instructions, click here. Anything to share? Do you have any tips to share for more efficient onscreen work, such as favourite keyboard shortcuts or using function keys? Please share them with us in the Comments section below so that we can all improve our onscreen working experience.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. FIND OUT MORE > Get in touch: Louise Harnby | Fiction Editor & Proofreader > Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn > Learn: Books and courses > Discover: Resources for authors and editors
In Proofreading – Does it Pay? I looked at the rates a UK proofreader might realistically expect to earn and I offered some thoughts on working for what might be perceived by some to be “low” rates in order to get experience and build a client portfolio.
Since I wrote that article, Erin Brenner, on Copyediting.com, has posted a very informative piece about rates for the job that US editorial freelancers will find valuable: Tip of the Week: What a Copyeditor Earns. In this post I’ll focus on some of the hidden savings and costs that are worth taking in to account when thinking about whether a freelance business is financially sustainable; I’ll also address the issue of emotional earnings – the so-called cultural capital (sometimes called human capital) that can be generated from editorial freelancing. Hidden savings The obvious place to start when considering whether to embark on a freelance editorial career is what you can earn in term in terms of currency per hour. This will depend on where you live, the types of client you’re targeting, the subjects in which you specialize and the level of expertise required. This is discussed in more detail in Proofreading – Does it Pay? The economic climate will also affect the amount of work going around, just as it does in any industry, anywhere in the world. Editorial freelancing, however, has important hidden savings attached to it that should be taken into account when comparing it with office-based work. Commuting For those working and living in central London the annual tube travel card would cost between £1168 and £3040. I live in rural Norfolk. Buses run twice a day (not always at work-friendly times) and take an age to get anywhere. Furthermore, I don’t live in walking distance of a train station. If I worked for an employer in the city, I’d have to commute by car, roughly a twenty-mile round trip, five days a week. We already own a car so I can’t slam the whole cost on an office job, but the additional wear and tear, parking fees and horrendous UK petrol costs would be considerable. I, however, am a freelance editor. My trip down the stairs every day is free. I estimate I save around £1500 a year by working from home. When you work out what your freelance proofreading business pays, you should take the avoided commuting costs into account. Childcare I have a child so if I was office-based I'd have to pay for childcare during the holidays. Good quality childcare doesn't come cheap - nor should it - so that's another saving. If you have a supportive family network local to you, parents or grandparents, perhaps, who are prepared to look after your kids for free, lucky you! For many of us, however, this is not an option. Work clothes This may sound trivial but in some workplaces there's a certain dress code to which you will be expected to adhere. Two or three good suits and matching shoes don’t come cheap. This editorial freelancer, on the other hand, once proofread for four hours in her pyjamas. It’s not something I like to brag about, but I don’t spend a bean on work clothes even when, as usually happens, I do get dressed. Food I’m not sure where my US, Canadian, South African, Indian or Australian colleagues bought their lunch before they were freelance, but here in the UK, a lot of us spend huge amounts of money popping out from the office down to the company canteen, or nipping out to Pret a Manger or Marks & Spencer for a freshly made sandwich and a piece of fruit – and at a cost that makes me blush now that I’m digging around in my freelancing fridge every day. When working out the financial merits of freelancing, it's about not just what you earn but also what you don't spend. Hidden costs It would be ingenuous not to address some of the hidden costs, too. These need to be offset against the hidden savings and any cultural capital earned. Health insurance In the UK we have a wonderful, if struggling, National Health Service that’s free at the point of delivery. Every worker pays national insurance contributions to fund this. If you live outside of the UK, working in an office may give you health insurance entitlements that you would have to pay for yourself when freelancing. Pension provision If you’re an employee, your company may have a contributory pension scheme that tops up what you put in. These vary in their generosity, but need to be considered. Sick pay There’s no such thing as sick pay in the world of the freelancer. If you don’t work, you don’t earn – simple as that. Maternity/paternity benefits Again, there’s no external financial provision for this when you work for yourself. If you have a child and decide to take time out from doing paid work, that time represents income lost. Indemnity insurance Some editorial freelancers take out professional indemnity insurance in order to cover themselves in the event that legal proceedings are taken against them. To my knowledge, this is more of a concern for editors than proofreaders and is more prevalent in the scientific, technical and medical fields. Earning cultural capital If the term cultural capital (or human capital) sounds like sociological buzz talk, I won’t apologize, because the concept is something I believe in. Cultural capital refers to the skills, training, education, information, knowledge and benefits that a person gains in order to better themselves. There are many ways of earning cultural capital – just a few include enrolling in college, having kids, volunteering, going to work, training, networking, and socializing. Another way is to be a business owner, even if you’re the only employee. Investing in yourself When you decide to move from office-based work to building your own editorial freelance business, a hugely important cultural shift occurs. Every step you take on the journey will be an investment in yourself. Every piece of training or work that you do will be for you and your business. Every stamp you lick, every letter you post, every email you send to a prospective client will be for you. Every new client you acquire (and every rejection you receive) will be another step on your freelance journey, not an employer’s. At each step, you’ll be earning cultural capital. Tens of thousands of UK companies have signed up to work with Investors in People. Launched over 20 years ago, Investors in People "is the UK's leading people management standard. It’s a business improvement tool designed to help all kinds of organizations develop performance through their people” (http://www.investorsinpeople.co.uk). When you decide to set up your own freelance editorial business you’ve become an investor in people without even trying – you’ve invested in you. And in doing so, you’ve earned more cultural capital. The way you talk about yourself Office-based “part-timers” (I've been one) typically put in more hours than they're paid for in order to be seen to “keep up”. They don't always get the same breaks as full-time colleagues or have the same degree of influence within a department because they're not always on site. Freelancing offers another cultural shift on this front: I don't talk about myself a part-timer; rather, I'm a freelancer. I'm not an employee; I'm self-employed. I'm not even just an editor and proofreader – I'm also the owner of a business, the chief accountant, the marketing director, training developer, web manager, coffee maker, and the errand runner. That’s a lot of cultural capital, and I'm really proud of that. Measuring your cultural capital Measuring cultural capital in strictly financial terms is impossible. However, I think the things I’ve learned (through self-teaching and training courses), the people I’ve met, the planning I’ve done, the work I’ve completed, the flexibility I’ve embedded in my business model, and the obstacles I’ve overcome have given me new skills and confidence. I hope to pass on this emotional capital base to my child when they're ready. And if my business went belly-up in the next twelve months I believe I’d be better placed to pick myself up and re-enter the market because of the cultural capital I’ve earned on my freelance journey. Freelance colleagues, what do you think? Is it all about the dollars and cents or does emotional capital count, too?
A short question on this blog about which training course I would recommend for someone considering a career in proofreading prompted a rather long reply from me. It made me realize that the issue deserved a post of its own.
Professional proofreading training
Please note that this article isn’t designed to recommend one particular course over another. What you choose will depend on a number of factors, e.g. location, career stage. Readers of this blog who’ve searched my training archive will know the course I chose – the Publishing Training Centre's Essential Proofreading. While I found this course to be outstanding, this accolade is based on my business plan, my place of residence, my knowledge of the market I chose to focus on, and my training budget. It won’t necessarily be the right choice for, say, a Belgian with a different niche market in mind, or a Canadian whose pockets are feeling a little shallow at the moment. Instead, the aim here is to give voice to some of the basic issues that are worth considering when choosing what, where and how to train for a career as a freelance proofreader, wherever you live and whatever your budget. What’s on offer? The options are numerous. Distance learning and on-site; online and book-based; and DIY and professionally assessed. Some cost hundreds of pounds while other options cost less than the price of a family cinema outing. Googling for proofreading training courses throws up lots of information but little guidance on how to make a choice. Here are some ideas to get you on the right track. Is there a national or regional professional society you can contact? This is probably the best place to start. Get in touch with your national editing/proofreading society and see what they recommend. Their membership is full of people who were once in your position, so they will have some great advice to share, and at no cost. Visit my Editing & Proofreading Societies page to locate your national association or regional chapter. At what stage are you in the process? Consider what point you’re at in the process of your career change. Are you definitely looking to become a professional proofreader or are you at the earlier stage of considering it as one of several options? If the latter, you might opt for a cheaper, preliminary short course to see if the work suits you before you invest a larger amount of money in a more time-consuming distance learning course. If you've recently completed some training you might want to consider a mentoring programme. The Chartered Institute of Editing and Proofreading (CIEP) runs a mentoring programme in the UK. Contact your national editing and proofreading society for more details on mentoring opportunities in your own country. What kind of client are you hoping to target? Case study 1 You’re an ex-solicitor/attorney who’s decided that the law’s not your bag after all. You decide you want to focus on publisher clients, possibly those with lists in criminology, law and policing. Do some research to find out which houses publish in these fields and give them a call. Ask to speak to the production manager, or the person in charge of hiring freelance editorial staff. Ask that person what their criteria are for freelancers. They'll be able to tell you the training providers they recognize. They’ll also be able to give you some ideas about any experience or expertise they are looking for. You may be surprised to find that they accept a qualification that you hadn’t considered. And it may not be the most expensive one on the market. Even if you do find out that you would be better off going for one of the more expensive training courses, at least you know that it will be money well spent and that you’ll get the return on your investment once you start applying for paid work. Getting a feel for what publishers want is a good start because they are one type of client that is in a position to offer you repeat work. Case study 2 You’ve worked as an English-language teacher for years in a school or college, helping young adults improve their literacy skills. You decide to focus on independent fiction and creative non-fiction authors who are looking for the final polish before they submit their manuscript to an agent, in-house commissioning editor, or custom-publishing organization. You need to do the same research. Start networking with writers’ groups and online networks and ask the people themselves what training and experience they expect a proofreader to have. They may have a set of very different preferred externals based on their experiences of commissioning freelance editorial services. Join social networking forums such as LinkedIn where existing freelancers congregate and ask what training routes other freelance proofreaders in your country, who work with the type of client you’re interested in, took to get their careers off the ground. The point is to research your market and find out what people want and expect. Every training provider on the market will tell you that their course is the best, and they wouldn’t be doing a good job of marketing themselves if they claimed otherwise. Asking the end-users, however, is the key to ensuring you make the decision that best suits your business strategy. Assessed or not? Assuming you’ve decided proofreading is the job for you, and you need a training course that is going to give you the confidence and readiness to do the job to a professional standard, find out whether your training provider offers an assessment element. It’s best to iron out the creases while you are training, rather than alienating unhappy clients further down the line. Or to quote an old proverb: What the fool does in the end, the wise man does in the beginning.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses. If you don't have the full paid-for versions of, say, Adobe Acrobat or PDF-XChange, you can still use my proofreading stamps. At a recent local SfEP chapter workshop, my colleague Sara Peacock demonstrated the stamps. She says: "The stamps work with [the free] Adobe Reader, but the proofreader will need to ensure that whoever creates the PDF 'enables comments' before sending it, otherwise the comment tools that are needed (as well as the stamps, the pencil tool, the strikeout tool, and so on) won't be accessible. "However, all of these tools (or their equivalents) are available in the free PDF-XChange viewer, in which the stamps can also be used. (Personally, I find it a more stable piece of software than the Adobe version so I use it all the time anyway. It's a bonus that I don't need to insist on enabled PDFs.)" I normally work in the full version of Acrobat Standard, but following Sara's comments I decided to give XChange Viewer a try. I must say, it was a doddle and the functionality is exceptional given that this won't cost you anything. The stamps palette is much clearer, for one thing, and uploading the stamps is quicker, too. I'd recommend giving Viewer a try, even if you're a die-hard Acrobat user! Even better, XChange Viewer allows you to upload them all in one go! To access the stamps files, see the article Free Downloadable Proofreading Stamps. For a more detailed look at using stamps for onscreen work, go to PDF Editing: Making the Most of the Stamps Tool. For installation instructions, click here. Tips
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers. She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Solitude vivifies; isolation kills.
Joseph Roux (nineteenth-century priest and poet) I worked in an office for nearly fifteen years before I went freelance. I’d stop and chat with friends and colleagues by the water cooler or coffee machine. There was always someone to talk to; sometimes it was difficult to knuckle down to the job, so social was the environment. Now that I’m freelance, I work from home. I don’t have colleagues in the traditional sense. I’m on my own from 9 a.m. until 3 p.m. Non-freelancers have frequently asked me how I deal with the isolation and are often surprised when I reply, “I don’t feel isolated.”
The experience is certainly different from that of my prior office life and it requires a different mindset, but need it be isolating? Or was Roux onto something when he reminds us of the different ways of being alone? I asked some of my freelance editorial colleagues about how they manage a life of working from home.
The following is a summary of our collective wisdom on how to generate your very own freelance water cooler when you need it, and bathe in the quietness when you don’t. The challenges Many of us become freelance because it suits our needs – moving house, moving country, redundancy, parenting, disability, and caring for dependents are just some of the reasons why people move their work base from the office to the home. These changes can bring rewards but also challenges, forcing us to withdraw from the traditional and easily accessible friendship and professional groups that we’d previously relied on. Some of the contributors to this article highlighted how having young children has provided them with much-needed human contact at the school gates. But many of us still miss the “office banter”, the “colleague” element – Jo Allen summed it up well, referring to “those people who do the same or similar jobs so you can swap and share ideas: the manager who always supports your ideas; the people who are there to confirm your decisions; the security of responsibilities understood; and the confidence of knowing how to do the job”. Online networking Our discussions highlighted one thing above all else: Facebook. Yes, editorial association-based discussion lists, LinkedIn boards, Twitter and Google+ all came up as recommended spaces for connecting with like-minded colleagues in similar working environments, but Facebook stood out as the place to go to meet, chat, share ideas, and let off steam. Facebook is the ultimate freelance water cooler. Several people actually wondered how they ever coped without it, and one person commented that he’s not sure he’d still be freelance were it not for Facebook. I particularly like the fact that it’s so easy to differentiate one’s public image from the more personal posts that might be limited to friends, down to the private messaging options for the one-on-one chat. Using online networking forums means you don't ever have to feel like you’re working on our own even if there's no one else in the room. Face-to-face networking The other favoured resource for combating feelings of loneliness was the good old-fashioned face-to-face meet. It requires a lot more effort than dipping into your Twitter account, but the rewards are huge. Several contributors commented on the benefits reaped from regular attendance at their local society chapter, and Eva Blaskovic lamented the fact that she didn’t have as much time as she’d like to take advantage of more workshops and functions. If there isn't a local group near to you, you could always follow the lead of Helen Stevens and set one up! Joining your national editorial freelancing society may be a critical first step in accessing colleagues who face the same professional and personal challenges as you, as well as providing excellent social and learning opportunities. To find your local, regional or national freelance editorial group, visit the Editing & Proofreading Societies page. See also the Networking section of the Copyeditors’ Knowledge Base, curated by Katharine O’Moore-Klopf – a hugely comprehensive resource for freelancers. Of course, you needn’t limit yourself to editorial groups. “I’m also looking into various local small business networking groups – there seem to be quite a few nearby that are specifically for women or mothers,” commented Abi Saffrey. And another colleague is pursuing an MA, which gives her valuable face-to-face time with adults. Sara Peacock emphasized the value of joining hobby-based groups, such as a choir or knitting group, and Wendy Toole explained how, prior to the internet era, she took a series of minor part-time jobs, which gave her both additional income and social contact with other people. Cafe culture “Scope out a decent coffee shop – having the odd couple of hours working in a different environment with people around makes you feel a lot less isolated and a lot more like you're just your own boss,” was a sound piece of advice from Gaz Haman. That got the thumbs-up from many of the discussants. It’s all about a change of scenery. Even if you’re not directly interacting with other people in a particular place, time spent outside your usual work space is an effective refresher. You can even incorporate your java time with your work – the cafe may not be the best place in which to do editorial tasks that require deep concentration, but it may be a space where you can catch up on emails, invoicing or any of your more general house-keeping tasks. Co-working One of the most innovative solutions was highlighted by both Sally Fildes-Moss and Kristine Hunt. Co-working is “where freelancers meet up to work alongside each other in places such as cafes” , enabling them “to feel less isolated, pick each other's brains, bounce ideas off one another and so on – or just to work in a less solitary environment”. Sally emphasized the fact that there is less pressure to market oneself in these situations, providing instead “a bit more of an office atmosphere than a networking atmosphere”. For an interesting case study of co-working, she recommends the following article: Co-working Could Bring Inspiration. Kristine points us towards Meetup, an online resource that helps you to join or create relevant local community groups – absolutely worth a gander if you’re feeling that isolation is getting on top of you and you’re stuck for ideas of how to move forward. Pet paradise I’m not joking – having a dog can be a sure-fire way to combat feelings of isolation. No, they won’t be able to bounce business ideas around with you and they won’t be able to advise you on how to deal with the frustrated author of the book you’re editing, but pets still make wonderful companions. My trusty Lab is always ready with a tail wag whenever I’m stressed by a deadline or tackling a particularly demanding proofreading job. And as Wendy Toole reminded us, dog walkers are usually sociable and you get work on your health – keeping you work fit and body fit. They keep your feet warm in winter, too. Other options If you don’t fancy any of the above, consider the following:
Is it isolation or solitude? The first question my colleague Kristine Hunt asked during our discussion is: “Why assume isolation is bad? I don't miss the office politics, formal clothing, jockeying for time off, etc. I'm not so much antisocial as one who enjoys quiet time alone, so freelancing at home is ideal in that regard.” Many of us felt the same way. Freelancing from home does require a different mindset, but once you’re in it, it can be quite hard to revert to old ways of working. Others commented that the solitude that homeworking brings allows you to work at your own pace. “I can get so much work done just focusing at home and taking breaks only when I need – or don't need – them,” noted Eva Blaskovic. And Hester Higton remarked, “I love being able to shut myself away from the world and have my own space where I can beaver away at my own pace.” To round off, Sarah Wright points to an illuminating article from Susan Cain in the New York Times Sunday Review, The Rise of the New Groupthink, in which she reminds us that being alone, and enjoying the attendant privacy and freedom from interruption, can be an intensely creative and rewarding experience. Many of us do need our water coolers, online or off, but we can also enjoy the solitude that our freelance homeworking status brings us.
Do you work on your own? Do you have a set of tips or tricks to combat feelings of isolation? Or do you revel in the solitude you derive from home-based freelancing? Please feel free to share your experiences in the Comments section.
Contributors: Many thanks to my generous editorial colleagues who took the time share their thoughts and experiences: Abi Saffrey, Corbett Brown, Eva Blaskovic, Gaz Haman, Helen Stevens, Hester Higton, Jo Allen, Kristine Hunt, Sally Fildes-Moss, Sara Peacock, Sarah Wright, and Wendy Toole.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Want to annotate a PDF with digital proofreading marks? Below are my free proofreading stamps files in red, blue and black. They conform to British Standard BS 5261-2 (2005).
You will not have to resize these stamps – I've designed them to work with the font size that most book files use. Simply upload them into your PDF editor and you’re ready to go!
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