A note from Louise: Do you issue a contract before you start an editorial project? If not, take a gander at the advice from my editorial colleague Cassie Armstrong. Working without a net Most of you wouldn't think of beginning an editing project, or making a major purchase, without a contract in place. I was like that, too. I never began a new project without either a signed contract on file or an email where both parties made it clear what they would and would not do. But I didn't do that with a recent project. That mistake cost me time and money. Take a minute and learn from my mistake. I answered a job post for a proofreader a few weeks ago. The project was interesting, so I sent an email to the person who posted it. We talked about what the work involved, why a proofreader was needed, and about my hourly fees. I was thrilled to be accepted because the project piqued my interest. I could relate. But in my haste to begin, I didn't take the time to discuss a contract with my client. I should have stopped right there and corrected this mistake. Ask if there’s a budget In the early talking stages, when you and your potential client are discussing the project, take the time to ask if there is a budget for the work. I usually always ask. If I like the project and want to be involved, I will often times accept it even if the potential client’s budget is lower than my hourly fee. That decision is up to you, but it’s one that you need to consider in the beginning talking stages for any project. Money isn’t the only reason to be involved. In the recent project I suggested an hourly fee but didn't ask about a budget. For the next piece of work, I plan to avoid this mistake and ask the question. It would be in your best interest to ask the question, too. Remember to ask it during the project’s conversational phase, before you accept job. Don’t do anything without a contract I didn’t suggest or push for a contract because my client wanted the project completed in a week. I thought requesting a contract would slow down the process. This was my third mistake. Always take the time to draw up a contract. If you don’t want to be that formal, you can write the potential client a letter that explains what you will do and how you will do it. The letter and contract don’t have to be complicated and KOK Edit has some good examples that you can review and modify to suit your needs in her Copyeditors’ Knowledge Base (Contract between editor and book publisher; Contract between editor and client). An email will also serve as a contract If you don’t want to draw up a formal contract and take the time needed for both parties to sign it and return it, an email where you specify what you will do, how long the project will take, and the overall or hourly fee will also suffice as long as you have a statement of agreement from your client in a return email. This acceptance email will serve as the contract for the job. Ask for a deposit Just as a contract is important in any project, so is a deposit. Depending on the length of the project, you may want up to 50 per cent in advance and payment on billable hours every two weeks. The amount of deposit as well as the project’s billing cycle is as individual as the project and editor. These items should also be spelled out in the contract. For some small projects, I have edited without a deposit. For me, it’s a gut reaction. Just as each contract is different, so is requiring a deposit. For short projects with rapid turnarounds, deposits may not work. Do what works for you and is best for your circumstances at the time. In all cases, make sure you have complete contact information and consider using PayPal. Add a kill fee No matter what kind of contract you write, either traditional, a letter or email, make sure the contract contains a kill fee. The kill fee will save you a lot of grief and will provide an out for both you and your client if things don’t progress the way you'd planned. Just as a deposit helps protect you from doing a lot of work and then not getting paid for it, a kill fee, cancellation fee, or rejection fee serves a similar purpose. The kill fee ensures that you’re paid for all the work you’ve done up to the time the client notifies you that they are not going to work with you any longer, or when you decide to walk away from the project for one reason or another. Both you and the client may decide to cancel the project for any number of reasons, including timing, money, or change of focus. You both may decide to cancel the job because you aren't happy with the initial work, may think that you aren't working well together, or may not want to continue for some other reason. Whatever the grounds, the kill fee helps cover your billable time and any tangible expenses (delivery fees, for example) incurred so far in the project. Make sure you understand what the project entails Through conversations and drafts, make sure that the project requirements are crystal clear for all parties involved.
Offer to fix any errors If you make a mistake in a project because of a lack of communication or because the client is not happy with one aspect of your work, offer to fix the problem. Taking a few hours to make a client happy will be your best reward in the long run. It will make you feel good and there’s also the possibility of receiving future work from a satisfied customer. Keep the lines of communication open Communication in a project is key. You can communicate via email or via the telephone. Establish the best way to keep in touch before the project begins and discuss how many times a week you will be in contact. If the client prefers telephone conversations, exchange numbers. Ask when the best time to talk is and keep in mind any different time zones between you both. Keep all conversations brief and on point. Be courteous but businesslike. Don’t allow yourself to be bullied If you find yourself in the position where you’re doing more than the contract specified, take a minute and regroup. Go over the contract specifics. Make sure to review the specifics and discuss the new project requirements with your client. Explain that the new requirements will take more time and will cost more than the original fee. Offer to fulfil the new requirements for an additional fee and specify how this will be paid. Keep all conversations light but remain in control. Don’t allow yourself to be pushed into doing something that you’re not comfortable with or making changes that weren’t discussed previously. If you have to make changes or correct an error, don’t allow the client to deduct the cost of these changes from the original project fee. Explain your position to your client and stand your ground. Standing your ground is something that many of us aren't comfortable with. However, in business, and real life, it’s necessary if you don’t want to be bullied. If a situation like this occurs early on in the project, the kill fee you included in the contract, letter, or email will come in handy. Use it and walk away. Never put yourself in a situation where you are not in control or where you have second thoughts about a client or project. It isn't worth it. Bottom line Bottom line: a well-designed contract should avoid any potential problems in a project. Before I begin another project, either with an individual or with a publisher, I plan to make sure that the job specifics are spelled out and crystal clear. I will also add a kill fee to the contract and if there’s an inkling that the project is not going well, I will walk away. Copyright 2012 Cassie Armstrong Cassie Armstrong is a professional editor and the founder of MorningStar Editing. She's a recovering college English teacher and member of the Editorial Freelancers Association with over six years' editing experience. Her clients are primarily individual authors and trade publishers who specialize in fiction and non-fiction subjects, from biographies to YA novels. Cassie enjoys working with yarn and thread in her spare time and is developing a complementary speciality in editing books about crafting. Contact Cassie via her website MorningStar Editing, Twitter @MorningStarEdit, and LinkedIn.
0 Comments
If you’re building your editorial business, you can’t afford to sit back and hope the work will come to you – too many colleagues will be taking a more proactive approach.
So, this time around, I thought it would be fun to pretend to be someone else – someone with a different educational background and career history.
I’m going to pretend that I’m new to the field but that I have completed some sort of recognized training in proofreading/editing and have joined my national editorial society. My technical skills are there but I’ve got to work out how to get myself noticed, and how to make myself stand out. So who am I today? My name’s Basil Rhoueny [it’s the best anagram I could come up with – alternatives on a postcard].
So how am I going to create awareness of my new business? I know it’s not going to happen overnight, but I have a plan! That plan starts with providing clarity for myself about who I am and what I have to offer. At first glance, this is me:
My name is Basil Rhoueny, and I’m a fully trained copyeditor and a Professional Member of the Chartered Institute of Editing and Proofreading (CIEP).
|
|
|
All
Around The World
Audio Books
Author Chat
Author Interviews
Author Platform
Author Resources
Blogging
Book Marketing
Books
Branding
Business Tips
Choosing An Editor
Client Talk
Conscious Language
Core Editorial Skills
Crime Writing
Design And Layout
Dialogue
Editing
Editorial Tips
Editorial Tools
Editors On The Blog
Erotica
Fiction
Fiction Editing
Freelancing
Free Stuff
Getting Noticed
Getting Work
Grammar Links
Guest Writers
Indexing
Indie Authors
Lean Writing
Line Craft
Link Of The Week
Macro Chat
Marketing Tips
Money Talk
Mood And Rhythm
More Macros And Add Ins
Networking
Online Courses
PDF Markup
Podcasting
POV
Proofreading
Proofreading Marks
Publishing
Punctuation
Q&A With Louise
Resources
Roundups
Self Editing
Self Publishing Authors
Sentence Editing
Showing And Telling
Software
Stamps
Starting Out
Story Craft
The Editing Podcast
Training
Types Of Editing
Using Word
Website Tips
Work Choices
Working Onscreen
Working Smart
Writer Resources
Writing
Writing Tips
Writing Tools
July 2024
June 2024
May 2024
April 2024
March 2024
October 2023
August 2023
July 2023
June 2023
May 2023
April 2023
March 2023
January 2023
December 2022
November 2022
October 2022
September 2022
August 2022
July 2022
June 2022
May 2022
April 2022
March 2022
February 2022
January 2022
December 2021
November 2021
October 2021
September 2021
August 2021
July 2021
June 2021
May 2021
April 2021
March 2021
February 2021
January 2021
December 2020
November 2020
October 2020
September 2020
August 2020
July 2020
June 2020
May 2020
April 2020
March 2020
February 2020
January 2020
December 2019
November 2019
October 2019
September 2019
August 2019
July 2019
June 2019
May 2019
April 2019
March 2019
February 2019
January 2019
December 2018
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
September 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
July 2015
June 2015
May 2015
March 2015
February 2015
January 2015
November 2014
October 2014
September 2014
August 2014
July 2014
June 2014
March 2014
January 2014
November 2013
October 2013
September 2013
August 2013
June 2013
February 2013
January 2013
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
|
|