An American Editor

September 25, 2020

2020 Be a Better Freelancer® conference program and speakers available!

By Ruth E. Thaler-Carter, Owner

An American Editor

2020 conference awaits your registration!

The 15th annual Be a Better Freelancer® conference is open for registration! This year’s event continues the partnership between Communication Central, the An American Editor blog, and the National Association of Independent Writers and Editors (NAIWE) as co-host and PerfectIt as lead sponsor.

Another sponsor is new to the conference: The Six-Figure Freelancer and its author, Laura Pennington Briggs.

If you’re interested in being a sponsor, act now using this PDF about 2020 opportunities.

2020 Be a Better Freelancer Conference-Sponsorships

Session topics will include an exciting array of current tips, resources and insights about business basics, expansion, self-publishing and more.

For most of the past 15 years, “Be a Better Freelancer”® has been the only conference specifically for freelancers in the editorial world — writers, editors, proofreaders, indexers, desktop publishers, graphic artists, photographers, website creators, etc.

The 15th annual Communication Central-NAIWE Be a Better Freelancer conference will be held as an online event via Zoom on October 2–4, 2020. This year’s conference offers a strong emphasis on opportunities in the self-publishing realm, as well as resources for overall business success, productivity and expansion. Sessions will be consecutive rather than concurrent.

The conference event will be online and is free to all. Recordings of sessions will be available at $30 each after the event.

We plan to return to the full in-person format with concurrent sessions in each timeslot in 2021 in St. Louis, Missouri.

To register, go to:

https://naiwe.com/conference/

2020 Conference schedule

All times are Eastern (US).

Friday, October 2

9–10:30 a.m.
Startup Essentials and Business Basics, Ruth E. Thaler-Carter
If you’re thinking about launching a freelance communications business, there’s a lot to do before making your plans known to the world and in your first few months. Get the basics of structuring and announcing your freelance writing, editing, proofreading, indexing, website, book production, graphics or other publishing-related business from a freelancer who’s been leading the way for many years.

11 a.m.–12:30 p.m.
Getting Your Self-Publishing Client to a Finished Product, Dick Margulis
Opportunities for an editor to break into traditional book publishing are vanishing, but they continue to expand rapidly in self-publishing. Independent publishing is now an established and accepted part of the publishing industry. In this session, you will learn how to help your independent author–publisher clients produce the high-quality books they want. Learn how you can work with and guide independent authors in a way that is fair to them and worthwhile for you. The session will be an overview of the independent publishing process, including ethical, financial and practical considerations, to help you figure out where you can fit into the process in a way that works best for you.

This session will provide a comprehensive and detailed summary of the steps and skills entailed in producing a book that meets commercial standards. Armed with this knowledge, you can guide your client toward intelligent decisions about who should do what. The self-publishing author is a publisher. Publishing a book is a business activity. Making a book is a craft activity. Self-publishing should not be do-it-yourself publishing, and you can partner with others to produce the book so the (self-)publisher can focus on marketing, sales and distribution — their proper role.

1:30–2:30 p.m.
Perfecting Your Process with PerfectIt — Beginner Level, Daniel Heuman
No one became an editor because they like checking for consistency of hyphenation and capitalization. Thankfully, there is a faster way to do it! PerfectIt is an add-in for Word that speeds up checking while still leaving you in control of every decision. Thousands of editors around the world use PerfectIt to fix these small details so they can focus on the work that matters.

This session is primarily for complete beginners who have never used PerfectIt before. It will cover what the software can and cannot find, with an overview of all the styles and checks that it can run. It will show you how suggestions vary by location, and every location and suggestion needs to be checked for context. It’s open for users on Macs or PCs.

3–4 p.m.
Perfecting Your Process with PerfectIt — Advanced Level, Daniel Heuman
Spending hours checking that every detail conforms to a style manual is time-consuming and can distract you from the most important work of substantive editing. There is an easier way! This session will show how you can use PerfectIt to select a style sheet, build your own custom style sheet and check your preferences. The session will explain how to use PerfectIt’s advanced functionality with a focus on custom styles and custom checking. It will show how you can share style sheets with colleagues and set up a different style sheet for each client and every style that you work with. This will be an advanced workshop that is primarily for editors who already use PerfectIt on a PC with Windows.

4:15–5:15 p.m.
Questions and answers; general networking

Saturday, October 3

9–10:30 a.m.
Success in Working with Self-Publishing Authors, Katherine Pickett
With the continuing surge in self-publishing, more and more editors find themselves working with self-publishing authors, and many of them have no idea how the publishing process works. Although many editors have worked with writers for a long time, the needs of self-publishers are different, and anticipating those needs is key to good results. This session will help you avoid the pitfalls and find success when working with self-publishers. Topics include:
• Where to find self-publishing clients
• How to estimate time and cost of projects
• Why and how to set boundaries
• How to protect yourself from scam artists
• Areas of job growth
• Where to find additional resources for self-publishers

11 a.m.–12:30 p.m.
The Magic of Macros, April Michelle Davis
The more we can do to increase efficiency in the writing, editing or proofreading process, the more valuable we are to employers and clients, and the more we can earn. Get the scoop on creating and using macros in Word to make your workflow faster, more efficient, more accurate and more productive from author and editor April Michelle Davis, executive director of NAIWE and a proven expert in this important approach tool.

1–2:30 p.m.
Editing Fiction in the Independent Arena, Carolyn Haley
More and more authors are publishing their own novels these days, whether solo or through a service. Most of them want — and need — editors just as much as their traditionally published peers, but there’s no formal infrastructure to support them, making indie publishing a free-for-all for both authors and editors. This session will address your questions about being an independent editor serving independent authors. Send your questions in advance for discussion during the session.

3–4:30 p.m.
Bigger and Better — Expanding an Existing Freelance Business, Ruth E. Thaler-Carter
After your freelance business has been up and running for a while, it’s time to think about how to make it more successful. Should you offer additional services? Look for new sources of clients? Get more training? Become more visible? Learn about ways to “grow” your business from Communication Central owner and conference creator Ruth E. Thaler-Carter, who has expanded her freelance business from writing only to providing editing, proofreading, websites, public speaking and event planning.

4:15–5:15 p.m.
Questions and answers; general networking

Sunday, October 4

9 a.m.–11 a.m.
The Business of Being a Business, April Michelle Davis
It takes more than good writing skills, a sharp eye for typos, a love of reading, the ability to alphabetize, a cellphone camera, etc., to be a successful writer, editor, proofreader, indexer, graphic artist or any other freelancer. Succeeding means taking seriously the concept of being in business. You can be brilliant at what you do and still fail if you don’t set up your freelance effort as a business and treat it as a serious venture. Find out how to incorporate key business skills and tools to make your freelancing a success.

Speaker bios

• Writer and editor April Michelle Davis (www.editorialinspirations.com) is executive director of the National Association of Independent Writers and Editors (NAIWE) and an expert in macros, Word and business-organizing resources.

She is the chapter coordinator for the Virginia chapter of the Editorial Freelancers Association (EFA), and past chair and website administrator for the Mid- & South-Atlantic chapter of the American Society for Indexing. She has published two books through the EFA, A Guide for the Freelance Indexer and Choosing an Editor: What You Need to Know, and a young-adult novel, A Princess in Disguise.

She is a lifetime member of the ACES: The Society for Editing and a contributing member of the Christian Proofreaders and Editors Network.

She has a master of professional studies degree in publishing from George Washington University;  a bachelor of arts degree in English from Messiah College; and certificates in editing (University of Virginia), book publishing (University of Virginia) and professional editing (EEI Communications).

Before starting Editorial Inspirations in 2001, Davis was an assistant editor at the National Society of Professional Engineers and a program assistant for the American Prosecutors Research Institute.

Carolyn Haley lives fiction as an editor, author, reader, and reviewer. She has been editing professionally since 1977 and as DocuMania (documania.us) since 2006, working with publishers, packagers, and indie authors. She also has written three novels, which have been published both traditionally and independently (carolynhaley.wordpress.com). She is also the fiction columnist for An American Editor.

• Daniel Heuman is the CEO and founder of Intelligent Editing (intelligentediting.com), and developer of PerfectIt, which is used by thousands of professional editors around the world. He has spoken at conferences of Communication Central, ACES, the Chartered Institute
of Editing and Proofreading, Editors Canada, SENSE, the Editorial Freelancers Association (EFA), and many other organizations.

Dick Margulis (www.dmargulis.com) focuses on thoughtful editing, appropriate design, expert production and comprehensive project management for publishers of all sizes. He learned to set type at an early age and has been studying and practicing typography ever since, becoming a go-to resource for colleagues and independent authors interested in book publishing and memoirs. He is the co-author with Karin Cather of the invaluable book The Paper It’s Written On: Defining Your Relationship with an Editing Client, which he and Cather developed after presenting a session about contracts at a past Communication Central conference.

Margulis has more than four decades of experience in helping companies and authors communicate effectively, internally and externally. He has made significant contributions to client projects such as corporate identity, including logo design; user manuals and technical documentation; web and intranet sites; books and magazines; and much more. He is known for his deep understanding of and skill in typography and book production.

• Katherine Pickett is the owner of POP Editorial Services, LLC (www.POPediting.net) and author of Perfect Bound: How to Navigate the Book Publishing Process Like a Pro.

She worked in-house with McGraw-Hill Professional and Elsevier Inc. for seven years before starting POP in 2006. Through POP, she offers copyediting, proofreading, and developmental editing to authors and publishers across the country. She is an active member of the EFA and president of the Montgomery County chapter of the Maryland Writers’ Association. She has been educating writers and indie publishers about the book-publishing industry since 2008.

Ruth E. “I can write about anything”® Thaler-Carter started Communication Central in 2006 to serve and bring together colleagues at all stages of their freelance careers. She is the author/publisher of “Get Paid to Write: Getting Started as a Freelance Writer” and author of “Freelancing 101: Launching Your Editorial Business” for the Editorial Freelancers Association (EFA), with a new 2020 edition including contributions by Robin Martin. She presents webinars and in-person sessions on freelancing, the basics of editing and proofreading, websites for freelancers, and related topics for the EFA, NAIWE, Cat Writers Association, American Copy Editors Society (ACES; she was one of the first ACES freelancers), Association Media & Publishing, Society of Professional Journalists (SPJ), Writers and Books, International Association of Business Communicators, and other professional organizations, including the UK’s Society for Editors and Proofreaders.

Thaler-Carter is an award-winning freelance writer, editor and proofreader who has been published and worked on projects internationally, nationally, regionally and locally. She writes, edits and proofreads material in everything from the arts to the metric system to animals, education, communications, statistics and more.

Often called the Queen of Networking for her extensive involvement in professional organizations and ability to connect colleagues with projects, resources and each other, she is on the NAIWE Board of Experts member for networking; Resources chair of the SPJ Freelance Community; newsletter editor and chapter co-coordinator for the EFA; communications director for the St. Louis chapter of the International Association of Business Communicators; and more.

If you need more …

If you have questions, feel free to contact Communication Central here or use the contact form.

Read conference Testimonials here

August 31, 2020

On the Basics: The ethics of editing college applications

By Ruth E. Thaler-Carter, Owner

An American Editor

Once again, inspiration for an An American Editor blog post struck in reaction to a collegial discussion list conversation. (Some of you may have seen the beginnings of the conversation; this is an expanded version.)

A colleague mentioned having received a request to write or edit the client’s kid’s college application and said she responded by telling them that college applications should be the student’s own work. She characterized the request as a possible ethics issue, and I agree; I said I would have responded the same way. If they had only asked for editing services, it might have been different.

This is a frequent, albeit unfortunate, type of request. The asker usually has every intention of paying for the service, so it isn’t a scam in the financial sense, but either doesn’t know or care that it could be unethical. I manage or respond to these requests by making it my policy not to provide editing for college or grad school applications; proofreading, maybe, but even that can seem borderline inappropriate.

This might be an uncomfortable topic to discuss, but I’m interested in how colleagues think about it. Some institutions will let applicants use editors or proofreaders for application statements or essays, but forbid hiring someone to write those materials. Some draw distinctions between doing such work for native speakers vs. speakers of other languages, or between disciplines — hiring an editor or proofreader is OK for students in the sciences, engineering, maybe business, etc., but not for those in English degree programs.

I have a huge amount of respect for anyone who is willing to function in a language other than their original one, especially English, which can be a challenge even for well-educated origin speakers (as we often see here). And I’m not monolingual: I’ve studied and used French, German and Spanish — but wouldn’t want to tackle writing in any of them until I had spent time immersed in them again; even German, which I picked up in childhood mostly from listening to my Austrian parents and only studied formally much later.

In the application process, it seems more fair for someone’s command of any language to be clear in — literally — their own words, especially in areas like medicine, where lack of fluency could have life-threatening results.

On the other hand, rejecting an applicant because of clunky English in an application might be a disservice to all concerned. Many applicants are very talented in their fields and deserve the opportunity to continue their educations at institutions in countries other than their own. There also can be a difference between someone’s spoken and comprehended levels of language vs. their skills in writing it. And it’s valuable for students to meet and interact with peers from other countries and cultures, no matter which ones are involved. Being accepted into a program and interacting with native speakers, both instructors and fellow students, day in and day out would improve a non-native’s command of English as well.

One colleague found it “hard to believe someone has the nerve to ask for such a thing in this day and age.”

Actually, I find it understandable (not acceptable, but understandable). It isn’t new. There have always been ways for students to game the system, even if only by having their parents write or edit their school work or applications, and students have been selling their work to each other for ages and a day. It’s even easier to do nowadays than ever before: Entire businesses are built on writing student essays and applications (businesses that do the writing for students at any level, and people who work for such businesses, are unethical in my eyes and those of many others, both individuals and institutions/organizations). Papers, and probably application essays, can be purchased online with ease. Celebrities pay thousands to phony up their kids’ applications, sometimes without the kids’ knowledge.

There also can be a thin line between editing and rewriting, although the distinction between writing and editing is easier to draw.

I typed papers for fellow students when I was in college (back in the Dark Ages before computers 🙂 ), and would correct some of their spelling or basic punctuation errors as I went along, but I wouldn’t rewrite if their concepts weren’t clear. There was a big difference between typing up a handwritten paper and rewriting or even editing it. More recently, I proofread my niece’s résumé and a cover letter for her; she’s in landscape architecture and is bilingual in English and Hebrew. I was comfortable with catching a few typos that had nothing to do with her professional skills, but I did have an ulterior motive for making her material as close to perfect as possible: I’m hoping she gets a job offer here where I live!

The good news is that the growth of companies that do the work for students and the ease of plagiarizing via the Internet has led to innovation in response, such as anti-plagiarism software programs. These can be used not just to check on whether someone has copied from known published works, but whether they’ve used material that has been “outed” as generated by someone (or thing) other than the student in question.

In the discussion of this that I mentioned above, several colleagues had perspectives on this that were ethical and interesting. Some have worked for college writing centers by providing coaching and advice without actually doing students’ work for them. Others have developed freelance services with a similar focus — helping clients learn how to write more clearly and effectively, but not doing the writing for them.

How and where do you draw a line?

Ruth E. Thaler-Carter (www.writerruth.com) is an award-winning provider of editorial and publishing services for publications, independent authors, publishers, associations, nonprofits and companies worldwide, and the editor-in-chief and — as of 2019 — owner of An American Editor. She also created the annual Communication Central Be a Better Freelancer® conference for colleagues (www.communication-central.com, now co-hosted with the National Association of Independent Writers and Editors (www.naiwe.com), sponsored by An American Editor and this year planned for October 2–4 as a virtual event. She can be reached at Ruth@writerruth.com or Ruth.Thaler-Carter@AnAmericanEditor.com.

August 5, 2020

On the Basics: The power of saying no as a reputation-builder

By Ruth E. Thaler-Carter

Owner, An American Editor

As editorial professionals, whether in-house or freelance, how do we build our reputations for not only what we do, but how we do it and who we are?

It may seem self-evident that doing good work is the first and most-important element of establishing a reputation of someone worth hiring, recommending, referring or subcontracting with. There’s more to it, though.

How we do business contributes mightily to an editorial professional’s reputation as well. And a huge factor in that process is knowing when, and how, to say no.

Saying no

It might seem odd to think of saying no as a way of establishing or solidifying your professional reputation, but it can work. Saying no to projects or clients means you know what’s right — or wrong — for your editorial business.

It’s hard to say no to a client or project, especially when you’re just starting out or funds are low and you’re worried about how you’ll pay the mortgage or rent, but doing so can be essential to the health of both your editorial business and your reputation. Saying no means you’re standing up for what you need from your business and what you expect from the people you work with or for. It means you have standards for, and limits on, how you do your work, and are willing to enforce them. Having the chutzpah to say no when appropriate gives you power.

Those standards or limits, and how saying no relates to them, can include:

Hours when you’re available — and saying no to requests (or demands) that you work outside those hours.

Type of projects you will accept and work on — and saying no to projects that aren’t right for you.

Rates you will work for — and saying no to rates that are too low.

Deadlines you will accept — and saying no to ridiculous ones that would make you crazy.

Treatment you expect from clients — and saying no to rudeness, unreasonableness, demandingness (is that a word?) and any other behavior that disrespects you as a professional.

Getting the message across

You can use your website to present your policies on these kinds of topics, as well as creating a template for responding to messages so you’re prepared to deal with challenges when they occur instead of feeling as if you’re a deer in the headlights of an unreasonable, confusing or inappropriate request. Here are a few suggestions for relaying your “just say no” message without actually saying no (at least, not upfront).

Posting work hours

The best way to head off client calls or messages at hours when you prefer not to be available is to put your “office hours” at your website (you do have your own website, of course). Many colleagues use their websites to let potential and current clients know that they aren’t available on weekends or outside specific hours.

Some people will still push that envelope, but posting your office hours means you have a way to push back. It’s also possible to set up a form of autoresponse that says something like “Thank you for your inquiry. I will respond at 9 a.m. of the next business day to discuss your project.”

You also can still do work outside those posted hours if and when you want — or need — to do so. That can mean saying no to the client but yes to whatever you have to do for a project or deadline to work in your favor.

Choosing your projects

Many colleagues prefer not to work on projects with content that is erotic, violent, racist, sexist, anti-Semitic or involves some other aspect that might be difficult to read. That’s our right. Some of us also have specific preferences for the genres we want to work on: fiction vs. nonfiction, young adult vs. adult or middle grade, fantasy, sci-fi, memoir, etc. You can make those go/no-go decisions as your business policy, post them at your website and incorporate them into your e-mail template for responding to potential clients. Like posting your office hours, that can say no for you.

Again, some people just don’t read such material and might contact you anyhow with the offer of work you don’t want, for whatever reason. You don’t even have to quote a reason, but it’s immensely helpful to be able to couch your no in terms of “Thank you for your inquiry, but as you can see from my website, I don’t work on projects such as this.”

Standing up for your rates

Most of us start out charging at the lower end of rates or accepting salaries at the low end of the bar for a variety of reasons, from lack of experience to lack of confidence. If you haven’t had any formal training or experience in your corner of the editorial world, are just launching a freelance business, want to try working in a new genre or topic area, or have no way of confirming that you’re good at what you do (or want to do), it makes sense to charge less rather than more. That goes for salary levels when you’re job-hunting in the traditional work world, as well as for freelancing.

Keep in mind that if you under-charge, you run the risk of spending so much time on low-paying projects to generate enough income to pay your bills that you won’t have the time or energy to find better-paying work.

Just be sure to, first of all, research rates through professional organizations and resources (such as Writer’s Market information, the Editorial Freelancers Association chart of common rates, conversations with colleagues, etc.) for a sense of what you might be able to charge based on your training, experience and skills.

Second, look for ways to defend what you want or need to charge. Your rates or salary should reflect that combination of training, experience and skill level with the added factor of what you need to cover your expenses and have something left for fun. An American Editor founder Rich Adin calls this your effective hourly rate: the income you have to generate to live your life on a level that is not just sufficient but rewarding; a rate based on you, not on someone else, whether a colleague or a client.

If you’re low on training, get some. Look to professional associations, college certificate programs and business resources to do two things: improve your knowledge and skills, and bolster your credibility. If you’re low on experience, look for ways to do more editorial work, even if it’s on a volunteer basis or at a starting-out rate. If your skills seem below par, look for volunteer opportunities, whether with a professional association or a charity you believe in, to do the kind of work you’re interested in and build up those skills. You might even look for a mentor who could help you strengthen your overall knowledge and specific areas of weakness.

The more you can show that you’re skilled and qualified, the easier it will be to say no to prospective clients that only pay peanuts.

Practice makes perfect

Because the necessity to say no is going to crop up for all of us, be prepared. Write out a script for how to turn down work that isn’t right for you, rates that don’t respect you, deadlines that are impossible for you to meet, etc. It can be brief. It doesn’t have to go into any detail or offer any excuses for your no. You might also want to create a backup script for the insistent client who doesn’t want to hear your no.

If you think about and plan for these moments beforehand, it will be much easier to stand up for what you want your business and your reputation to represent.

The bottom line

So how do all these aspects of saying no contribute to establishing your reputation?

Steeling yourself to say no when appropriate creates the impression of someone who is confident enough to have standards and stand up for them. Someone who is strong enough to resist pressure to behave in ways that would undermine their success and their ability to continually improve the quality of their editorial business. Someone who is more than reliable and skilled.

If you develop your ability to say no, you will establish your reputation as someone who is not only an editorial professional worth hiring, but one who can’t be scammed, scolded, underpaid or pushed around. That’s a reputation worth having.

Ruth E. Thaler-Carter (www.writerruth.com) is an award-winning provider of editorial and publishing services for publications, independent authors, publishers, associations, nonprofits and companies worldwide, and the editor-in-chief and — as of 2019 — owner of An American Editor. She also created and co-hosts the annual Communication Central “Be a Better Freelancer”® conference for colleagues (www.communication-central.com), with the National Association of Independent Writers and Editors (www.naiwe.com), sponsored by An American Editor. She can be reached at Ruth@writerruth.com or Ruth.Thaler-Carter@AnAmericanEditor.com.

July 29, 2020

On the Basics: Webinar on “generalist vs. specialist” coming up on August 12

Time to toot my own horn a bit, which I’ve been remiss about in recent weeks.

As you can see, I’m presenting a webinar for the Editorial Freelancers Association (EFA) about whether to position your freelance business — or even your in-house identity, now that I think about it — as a generalist vs. a specialist. The session will be held from 7–8 p.m. Eastern time on Wednesday, August 12. To register, go to:

Generalist vs. Specialist—Which Works for You? (webinar) SU20

If you missed my pearls of wisdom about “Basics of Proofreading” and “Freelancing 101” in recent webinars, recordings can be purchased from the EFA. Nothing like a “Ruth-full” library!

Being able to do online/virtual presentations in the current challenging times is both rewarding and humbling. My heartfelt thanks to all who have signed up for or purchased recordings of these events. I love sharing information and appreciate opportunities to help colleagues do better at their editorial work.

August 23, 2019

Measuring and Managing for Greater Productivity and Profit

By Jack Lyon

The famous management consultant W. Edwards Deming is often quoted as saying “If you can’t measure it, you can’t manage it.” Here’s what he actually said: “It is wrong to suppose that if you can’t measure it, you can’t manage it — a costly myth.” (The New Economics, 35.)

An example of something that can’t always be measured (but can be managed) is the quality of copyediting on a particular manuscript. Two different editors might not always see the same problems or fix them in the same way. So how do you manage your effectiveness as an editor? Is it based on your consistency in styling citations? Does it depend on your knowledge of a manuscript’s subject matter? Could it have to do with the comprehensiveness of your reference library? Copyediting depends on a number of factors that can only be described as subjective.

But unless you’re editing only as a hobby, there is one thing you should definitely be measuring and managing: your income — to be specific, your effective hourly rate. American Editor Rich Adin has written about this at some length (see, for example, “Thinking About Money: What Freelancers Need to Understand” and “Business of Editing: What to Charge”), and you should definitely read and heed his advice about this. You’re probably someone who works mostly with words, so don’t be put off by the math in these articles! It’s really important to understand what Rich is saying.

I know editors who make just enough money to stay above the poverty line; I also know editors who consistently make an income of six figures (yes, really). Would you like to know what makes the difference?

Those in the first group charge by the hour.

Those in the second group charge by the project (or the page, or the word, or even the character).

If you charge $50 an hour for your editing services, the most you can ever make is $50 an hour. But if you charge $5 a page, your hourly income depends on how many pages you can edit during that hour. If you can edit 10 pages, you’ll still make $50 an hour. But if you can edit 20 pages, you’ll make $100 an hour. To do that, you’ll have to be more productive (while still maintaining your usual quality), which means you’ll need the Microsoft Word add-ins I provide at the Editorium, particularly Editor’s ToolKit Plus.

Daniel Heuman’s PerfectIt will add even more to your productivity by automatically ensuring the consistency of your work.

Rich Adin’s EditTools provides a wealth of features created especially for the working editor. I particularly like Never Spell Word and Toggle Word.

To manage your effective hourly rate, though, there’s one thing you really need to measure: how many hours you spend on every project you edit. Now, if only someone would invent some software specifically for editors to track those hours. Well, that’s exactly what Rich Adin has done in his latest version of EditTools.

Rich calls this new feature Time Tracker, and you’ll find it on the left side of the EditTools ribbon:

Time Tracker on EditTools Ribbon

Time Tracker on EditTools Ribbon

Time Tracker alone is well worth the price of admission, even if you never use any of the other features in EditTools (although you will). I won’t go into all the specifics about how to use Time Tracker, because Rich has already done so in an impressive series of articles at An American Editor called “It’s All About the Benjamins” (the complete 55-page Time Tracker Help file in PDF format is also available for download). And by “Benjamins,” Rich means money — which you should have more of, if you follow his advice and use this new tool.

By keeping careful track of the amount of time you spend and the amount of money you make on each project, you’ll soon be able take advantage of the PDSA (Plan-Do-Study-Act) cycle, made popular by our old friend W. Edwards Deming. The Deming Institute defines this cycle as “a systematic process for gaining valuable learning and knowledge for the continual improvement of a product, process, or service.” Making money, for example.

If you keep track of your effective hourly rate (EHR), you’ll be able to answer questions like these:

  • What kinds of jobs bring in the most money?
  • Which clients actually pay the best overall?
  • When during the day am I at my most productive?

Then, using the PDSA (Plan-Do-Study-Act) cycle, you can do things like this:

  • Focus on the kinds of jobs that bring in the most money, and turn down those that don’t.
  • Solicit more work from clients that pay the best, and drop those that don’t.
  • Work when you’re at your most productive, and do something else when you’re not.

As you continue to use this cycle of improvement, you should see dramatic improvements over time in your overall income. Others have done it, and you can, too. It’s simply a matter of measuring and managing, using the right tools to improve your productivity and efficiency, and collecting and analyzing the data.

Jack Lyon (editor@editorium.com) owns and operates the Editorium, which provides macros and information to help editors and publishers do mundane tasks quickly and efficiently. He is the author of Microsoft Word for Publishing Professionals, Wildcard Cookbook for Microsoft Word, and of Macro Cookbook for Microsoft Word. Both books will help you learn more about macros and how to use them.

July 31, 2019

It’s All About the Benjamins! EditTools’ Time Tracker (Part V)

By Richard Adin, Founder, An American Editor

In It’s All About the Benjamins! EditTools’ Time Tracker (Part I), I discussed the importance of collecting data; in Part II, I discussed Time Trackers’ Project Summary; in Part III, I discussed some of the key elements of the Create/Update Project dialog, and in Part IV, a project was created and data to evaluate how the new project was going were created. This final discussion (Part V) focuses on some of the other important features of Time Tracker.

Updating Information

Sometimes things change and we need to change the project information we originally entered. Time Tracker has two different types of information updating.

The first is updating the basic project information itself. To change the original project information, select the project name — not a subpart’s name — and click Update Project (#2), as in the image below.

Updating a project

Clicking Update Project opens the Create/Update Project form for the selected project (see below). Once that form is open, you can modify any of the data. For example, if the client contact information changes, you can replace the outdated information with the new information.

The Update Project form

If instead of updating the general project information, you want to modify already-recorded data (the project details), select the project line if the project has no subparts, or the subpart that you want to modify if the project has subparts, and click Update Details (#A below). Note: The selected project or subpart must have some already-recorded data or Update Details will not be accessible. For example, in the image below, contrast the subpart 01 Bumble Batch 1, which is selected, with the no-subpart project Visions in Freudian Therapy (green highlight). If Visions in Freudian Therapy was selected, Update Details would not be accessible because the project has no already-recorded data to modify.

Selecting the data to be modified

Clicking Update Details (#A above) opens the Update Record (below) where the data modifications are entered.

The Update Record form

The Update Record form shows all of the data entries that are part of the selected subpart (#B) (or project, if there are no subparts). The first entry line (“0 hours, 0 minutes, 0 pages”) was created when the subpart/project was created. That line should be left alone because modifying it will distort your data. The next two lines shown (#B) are the data from the two work sessions that were part of Batch 1 (see Part IV of this series). Because the second work session is selected for modification, the component parts of its data are shown in the modification area (#C).

You can either modify some or all of the data, or leave the information as is. To leave it as is, click Close. Otherwise, modify the data that need modification (see below) and click Update (#D) to make the modifications. In this example, two modifications are being made: the subpart name (“(Preliminary)” is added) and the page count (increased from 17 to 18, which changes the total page count for the batch from 22 to 23, and for the project from 53 to 54).

Modifying work session 2 data

Once Update (#D in above image) is clicked, the modifications are recorded and visible on the Project Summary (green highlight in image below).

  • Important: Compare the highlighted numbers for the Effective Hourly Rate (EHR) and Average Pages per Hour (APH) for the project, batch, Year-to-Date (YTD), and Lifetime shown here with the same numbers, before the modification, shown in the previous image of the Project Summary. It is worth noting the effect a one-page change, from 17 to 18 completed pages, has, especially on the EHR.

The modified data displayed on the Project Summary

Other Options: Removing/Reinstating Projects from/to the Project Summary

As time goes by, the number of projects will increase, which, if not removed from the Project Summary, will make it difficult to access current projects. Consequently, Time Tracker lets you remove completed projects from the Project Summary and save them. But removal from the Project Summary doesn’t mean the project dataset is lost.

Completed projects that have been removed from the Project Summary can be accessed using the History button (see image above).

To remove a completed project from the Project Summary, select the project, not a project subpart, to make the Remove From List button accessible. Then click Remove From List.

  • Caution: If a subpart is marked completed but there are still open subparts for the project, selecting the completed subpart and clicking Remove From List removes the entire project, not just the completed subpart. If that happens, go to the History and reinstate the project.

A removed project can be reinstated in the Project Summary via the History button. In addition, a completed project, once reinstated in the Project Summary, can be reopened via the Reopen button.

For more-detailed information about removing and reinstating projects, as well as reopening projects, see the Time Tracker Help file.

Other Options: Archives

Part IV of this essay series discussed Time Tracker’s autosave feature. However, there is another part of the autosave feature that was not discussed in Part IV: autosaving of the Time Tracker data.

Time Tracker’s Archive is a temporary backup of project data in the event that something happens while you are working on the project. (It is called “temporary” because only 10 datasets are saved; when the 11th save occurs, the oldest dataset is automatically deleted, leaving 10 available saved datasets. When a project is completed, the saved “temporary” datasets — up to 10 — remain available.

One other item to note: Unlike Word’s temporary files, these datasets do not use the .tmp extension. For more detailed information about Archive files, see the Time Tracker Help file. Should data become corrupted or lost from an unexpected event like a document crash, the Archive file can give you the data from the time of your last (up to 10) timing stop. Every time you stop Time Tracker, it creates an Archive file. The problem is that the archive is created only when you stop timing. Consequently, if you last stopped timing two hours ago and Word crashes, in addition to having lost some of your work, you will have lost the time calculation that occurred between the last stop and the crash.

The Archives, however, prevent a total loss of data and can tell you when the last stop occurred, so you can calculate how much time passed between the last stop and the crash event. To protect against total data loss, you can access up to the last 10 data saves; when the 11th save occurs, the oldest save is deleted.

For more-detailed information about the archiving feature, see the Time Tracker Help file.

A Final Word

Time Tracker is probably the most-valuable macro an editor can have and use. Truthfully, I wish I had it when I started my editing career 35 years ago. The data that Time Tracker tracks are the data I have tracked over those years, because for me, there was nothing more important than being sure I was making a profit.

I had a family to support, retirement to plan for, health insurance to buy, a mortgage to pay, children heading to college, insurances and taxes to pay, and the list goes on. It made no sense to work at something that couldn’t support me and my family, no matter how much I enjoyed my work and no matter how good I was at it. Family brings on more paramount concerns and obligations, making knowledge about how my business was doing essential.

Having been in other businesses before becoming an editor, I was aware that it is easy to be fooled into living paycheck to paycheck, just getting by, and not really earning a living wage. As the years passed and the editorial business changed (when I began, it was the publisher who directly hired you, not a low-priced, third-party, offshore company), the compensation battle became more difficult. As people lost jobs or couldn’t find work, more people offered editorial services (“I love to read and easily found spelling errors in XYZ book, so perhaps I should be an editor!”), so competition increased. All of this and more made keeping and interpreting data ever more important.

Properly used, Time Tracker will help you track how you are doing so you know whether you can continue as you are or need to find ways to become more productive and efficient so you can increase your Effective Hourly Rate (EHR). Time Tracker will help you prepare better bids based on past similar projects and determine whether current clients are desirable clients.

In addition, Time Tracker data, combined with knowing your required EHR (rEHR), will help you determine what to charge. For example, if your rEHR is $30 but your average EHR (i.e., over multiple projects — the YTD and Lifetime calculations) is $25, you know that you need to either increase your rate or find a way to be more efficient and productive so that the YTD and Lifetime EHRs exceed $30.

Finally, Time Tracker data can help you ascertain which method of setting a fee works best for you over multiple projects (see my AAE essay, “The Rule of Three”), as well as which types of projects (e.g., fiction or nonfiction, fantasy or romance, biography or medical, short or long documents) and services (e.g., copyediting, proofreading, developmental editing, indexing) generate the most work, income, and profit.

The complete and detailed Time Tracker Help file is available for download from wordsnSync.

Richard (Rich) Adin is the founder of the An American Editor blog, author of The Business of Editing, owner of wordsnSync, and creator/owner of EditTools.

July 5, 2019

Why Do You Edit?

By Daniel Heuman

When I present at editing conferences, I’ve started asking the audience one question: Why do you edit?

The answers I get back are amazing and diverse; for example:

  • I like helping people tell their stories.
  • I contribute to medical research and change lives.
  • It gives me a good work-life balance.
  • I make science happen.
  • I help people communicate.
  • I get paid to read books!

The one answer that I’ve never heard is “I like checking consistency of hyphenation.” Nobody has ever told me that their driving force, the reason that gets them out of bed in the morning, is “making sure abbreviations are defined when they are first used.” That’s why editors love PerfectIt. It makes the mechanical elements of editing faster and easier, so you can focus on what matters. And that’s why I’m excited to announce the details of PerfectIt 4, our first new edition for Windows users since 2015.

The Basics of PerfectIt

If you haven’t used PerfectIt, its core philosophy is that humans make the best editing decisions, and they always will. The role of software is to help people make those decisions faster. PerfectIt doesn’t know what’s right. Instead, it alerts you to points in the document that could be errors. It leaves every decision up to you.

Here are some of the errors that PerfectIt helps you find:

  • Inconsistent hyphenation (e.g., “email” in one place, but “e-mail” in another).
  • Abbreviations that haven’t been defined or have been used before they’re defined.
  • Capitalization inconsistency (e.g., “Government” or “government”).
  • Brackets and quotes left open.
  • Numbers in the middle of sentences (spelled out or in numerals).
  • Inconsistencies in list punctuation and capitalization.
  • Use of sentence case or title case in headings.
  • Different spellings of the same word (e.g., “adviser” or “advisor”).
  • Common typos that spellcheck won’t find (no more “line mangers” or “pubic consultations”).

You can also use PerfectIt to enforce house style rules. The program is customizable so you can build in your own preferences. That’s useful for both freelance and in-house editors. If you’re a freelancer, PerfectIt lets you build in a style sheet for each client so it’s easy to keep track of different preferences. For an in-house editor, PerfectIt helps you enforce your style manual. You can set up your team with PerfectIt and make sure everyone at your organization follows the style manual (at long last).

PerfectIt doesn’t do anything that you can’t do. You can find and correct every error described above manually. However, these errors are time-consuming to find and easy to miss — and checking them is not why you edit! Checking mechanical errors is necessary work, but every minute you can save on the mechanics is more time for substantive editing.

What’s New in PerfectIt 4

In PerfectIt 4, we concentrated on one thing: increasing that time saving. We did that in two ways: improving PerfectIt’s initial scan and changing the interface. You can see it here.

In the past, PerfectIt’s initial scan was when you could step away from the computer and treat yourself to a cup of coffee or check your social media. With PerfectIt 4, a scan that could take as long as 5 or 10 minutes is now over in seconds. Coffee and social media will have to wait!

The biggest change in the interface is that every location now has a separate fix button. That makes it easier to use the preview text to see context and make changes. The time saving is just a second or two for each fix. However, the effect is cumulative. If you save a second or two on each fix, that can be a minute or two on each document. When you add that up over the course of a year, it’s significant.

Time savings aren’t the only improvement. We’ve also made changes to PerfectIt’s styles. We’ve added support for GPO Style, and we’ve updated WHO Style, UN Style, EU Style and American Legal Style. In addition, you can now base a style on an existing style. So if you do legal editing, you can start with PerfectIt’s built-in American Legal Style and build your own preferences on top of that.

Do More of What You Love

We made saving time the focus of PerfectIt 4 because that’s what every professional needs. Time saved on mechanics is more time for substantive editing (or more time for family, hobbies, and things that have nothing to do with editing). Do something you love. Checking for consistency mistakes is an important part of the job, but it isn’t why you edit.

Daniel Heuman is the CEO and founder of Intelligent Editing. PerfectIt is available for a 14-day free trial or a $70 per year purchase at intelligentediting.com. You can purchase it for just $49 per year (30% discount) if you’re a member of one of these professional editing associations.

July 1, 2019

EditTools 9 with Time & Project Management Macros Is Now Available

By Richard Adin

It has taken nearly two years to create the newest release of EditTools, but EditTools 9 is now available (http://www.wordsnsync.com/download.php). New features in EditTools 9 include:

Time Tracker not only lets you keep track of the time you are spending on a project, but it also keeps data about your projects and calculates your Effective Hourly Rate (EHR) and Average Pages per Hour (APH) for the specific project, all projects worked on in the current year, and all projects over your career.

EditTools 9 requires a new license; your EditTools 8 registration number will not work with EditTools 9. There are two versions of EditTools 9: a full version for a first-time EditTools user and an upgrade version for registered users of EditTools 8. Unlike past upgrades, the upgrade is not free.

For details about how to upgrade from EditTools 8 to EditTools 9, see the information at “Download Upgrade to EditTools v9 from v8.”

Richard (Rich) Adin is the founder of the An American Editor blog, author of The Business of Editing, owner of wordsnsync, and creator/owner of EditTools.

June 19, 2019

How Not to Network

By Ælfwine Mischler

With spring weather comes conference season and plenty of conferences for indexers, editors, and communications professionals of all types. For those of us who are freelancers, conferences offer a chance to socialize in addition to learning more about our craft and networking that might eventually lead us to new work gigs, since people are more likely to recommend or offer work to someone they have met in person.

But conferences are expensive. While there are ways to reduce the costs, unless you are a fantastic trainer or speaker whose costs will be covered by the conference hosts, you will have to lay out a considerable amount of money for travel, hotel, meals, and conference registration. It’s one reason that so many of us interact with colleagues online rather than in person.

That expense is particularly difficult for those of us who are new to the field. With that in mind, friends of an indexing software developer who had been generous in helping indexers established a scholarship in his memory to help defray the costs of a conference for newer indexers. In 2019, they offered two scholarships to entrants who had completed some formal index training within the past five years and had registered and paid to attend one of the annual national conferences offered in the USA, UK, South Africa, or Canada. If there were more than two entrants, the winners would be chosen by a blind drawing. (Disclosure: I was one of the 2019 scholarship winners.)

This was a great opportunity for networking and professional development. Unfortunately, it also led to a level of bad networking behavior in social media. While this is only one instance of how not to network, and an unusual one at that, it might be instructive for colleagues.

It so happened that the other winner and I had both completed our training five years ago, so this was the last time we would be eligible for the scholarship. As soon as the winners were announced in one of the indexing e-mail groups, one person — whom I’ll refer to as I.M. Pistov — started to rage in the group. Pistov complained that the scholarship had unfairly gone to two established indexers and that this showed bias in the indexing organization. Pistov claimed to have experience in editing and writing, but having difficulty breaking into indexing. The organization was corrupt, this was a terrible field to go into, etc.

When some people tried to tell Pistov otherwise, he accused them of calling him a liar. At least one other person on the list said something about how entertaining Pistov’s behavior was. Others politely told Pistov to reconsider his marketing plan: Maybe he should concentrate on using his website, and he should consider how he speaks to clients — if it was anything like what he was demonstrating on the forum, he should reconsider being a freelancer in any area, not just indexing.

I stayed out of the fray until one of the administrators of the scholarship spoke up to reiterate the rules for the scholarship and to state that the indexing organization and the forum were not in any way affiliated with the scholarship. A few hours later, Pistov came back on the forum and apologized for his earlier behavior. At that point, I came into the discussion to say that I admired his courage in apologizing in public and to wish him well. One of the less-gracious posters from earlier in the day then apologized to Pistov, moving herself up a notch in my estimation.

This incident is an example of how not to network. It might not be as common as other kinds of rude behavior toward colleagues online, or something like asking colleagues to share their client lists, but it had the potential for Pistov to be known and remembered for anything but his professional skills and value as a colleague.

Nowadays, most of us do the majority of our networking in e-mail discussion lists, online groups, blogs, and similar outlets. We have to remember that our behavior in an online forum is just as important as our behavior in person. If you feel that you must publicly voice your disappointment with something related to your profession, at least do not accompany it with name-calling and unfounded accusations of bias or cheating. Better yet, vent your anger and disappointment in a Word file and delete it unused, so there is no risk of accidentally hitting the Send or Post button.

There are dozens, at the least, of associations and social media communities to participate in for networking purposes — but we all need to remember that our online behavior in these forums is also an important way to connect with colleagues. Over the years that I have been a member of the Copyediting List (CE-L) and various indexing e-groups, for instance, I have learned who the frequent posters are and what areas they specialize in, and I have also gleaned something of their personalities. One member seems to be very sensitive; I have to be careful how I word things directed to her. Another always gives such short, almost cryptic answers that I have to ask for clarification. I ask questions, but I also have learned to be of assistance to colleagues whenever possible, and to always use a polite, pleasant tone — it’s so easy for online communications to come across the wrong way.

It works both ways: Colleagues have contacted me both on- and off-list with questions in my area of expertise, and I have referred colleagues and been referred by colleagues for gigs. The ones who behave professionally are the ones who earn responses and referrals.

There are many more tips for networking online, some of which have already been discussed in this blog. See, for example,

Are Networking and Marketing Essential to an Editing Business?:

https://americaneditor.wordpress.com/2014/05/12/on-the-basics-are-networking-and-marketing-essential-to-an-editing-business/

Making the Best Use of Interaction with Colleagues:

https://americaneditor.wordpress.com/2018/02/28/on-the-basics-making-the-best-use-of-interaction-with-colleagues/

Have you had any difficult experiences in social media behavior? How have you handled such incidents?

May 11, 2019

Check out the topic and speaker lineup for 2019 Be a Better Freelancer® conference

By Ruth E. Thaler-Carter, AAE and Communication Central owner

For those who have been eagerly awaiting information about Gateway to Success, Communication Central‘s 14th annual Be a Better Freelancer® conference, you need wait no longer! Here’s the lineup of topics and presenters; specific days and times will be announced soon, along with detailed speaker bios.

The conference will be held October 11–13, 2019, at the Chase-Park Plaza Hotel in St. Louis, MO. Hotel rooms are $150/night (plus taxes) and are comfortably shareable. (The conference rate is in place starting on Thursday, October 10.) The conference runs from 8 a.m.–5 p.m. Central time on Friday and Saturday, October 11 and 12, with continental breakfast and lunch included, and 9 a.m.–12 noon on Sunday, October 13, with coffee and tea provided. Dinner outings at nearby restaurants will be organized for the group, but are not included in registration.

This year’s conference is cosponsored by the National Association of Independent Writers and Editors (NAIWE) — an exciting first-time partnership. To register, go to https://naiwe.com/conference/ or www.communication-central.com.

The central location should be appealing for colleagues who have been interested in previous Communication Central events but found the East Coast location a challenge. We look forward to welcoming you to the Gateway City and an exciting panoply of resources to make your freelance efforts more productive and profitable!

Friday, October 11, and Saturday, October 12, 8 a.m.–5 p.m.
• You Oughta be in Visuals: Make Your Social Sizzle to Fire Up Your Freelancing, Walt Jaschek
Most of us are “word people,” but nowadays, it’s more and more important to promote a freelance business through visual media as well as the standard networking, social media (Twitter, LinkedIn, Facebook, etc.), website, press releases and other traditional efforts. Video content is expected to make up 80 percent of all Internet traffic by the end of 2019. Learn how to use video, Instagram, YouTube, Pinterest, podcasting and similar visual outlets to get the word out about your skills and services. This lively session will get you excited about adding visual elements to your promotional efforts.
• Finding and Working with Independent Authors, Dick Margulis
Independent authors might be the best, and fastest-growing group of, clients for many freelancers to work with, especially because many will pay for skills and services in editing, proofreading, design and layout, and publishing. Learn how to build up your freelance business by finding clients in, and structuring effective, profitable working relationships with, this sector of the publishing world.
• New Angles in Editing, Marilyn Schwartz
Those who revere Amy Einsohn’s classic Copyeditor’s Handbook will be thrilled to know that the University of California Press has published a new fourth edition, substantially revised and updated by Marilyn Schwartz, along with a new companion workbook prepared with co-author Erika Bűky. The Handbook has long served as
a valuable resource for writers and an essential reference for editors and proofreaders at every stage of their careers and in all areas of editing. Get the insider’s take on both the timeless wisdom of this beloved text and some critical new angles in editing that are explored in the revised edition and its accompanying Workbook.
• Working with Word/Acrobat, April Michelle Davis
Whether we like it or hate it, Microsoft Word remains the big dog on the word-processing playground and we all have to use it for writing, editing and proofreading work because it’s what most of our clients use — but using it effectively still presents challenges for many freelancers in publishing. Acrobat is also becoming a standard for not only proofreading, as it was originally designed for, but editing as well. Learn how to make the most of these essential tools, including practical tips and shortcuts/macros, educating clients unfamiliar with the programs, and rescuing documents from those dreaded crashes.
• Build a Better Website to Promote Your Freelance Business, Meghan Pinson and Ruth E. Thaler-Carter
It’s become common knowledge that freelancers need websites to build and support their business efforts. Find out why, and learn how, with tips on how to name your site, what to include, what not to do, how to make your site — and your business — look their best, and how to generate traffic through effective search engine optimization. If you don’t have a website yet, this session will get you started. If you already have one, this session will help you make it better at promoting your business and laying the groundwork for better interactions with clients.
• The Art of Persuasion: How to Get Paid What You Deserve, Jake Poinier
Getting paid what we’re worth is a challenge for freelancers both new and established. There always seems to be a new twist in how clients try to pay less than we expect or think we have earned. Pick up on practical, effective insights into positioning yourself with clients to ensure you generate the fees, rates and overall income that your experience and skills deserve, including tactics for increasing rates from current clients, developing referrals and more.
• Get it in Writing!, Dick Margulis and Karin Cather
The very idea of a contract for freelance editorial work scares many of us silly, so we often agree to projects without having agreements or contracts in hand. That can work — but it can backfire. The authors of The Paper It’s Written On (developed as a result of a previous Communication Central presentation) — one long-time freelance editor/book developer and one attorney/editor — will walk you through why a contract is important and what to include in one.
• The Business of Being in Business, April Michelle Davis
It takes more than good writing skills, a sharp eye for typos, a love of reading, the ability to alphabetize, a cellphone camera, etc., to be a successful writer, editor, proofreader, indexer, graphic artist or any other freelancer. Succeeding means being serious about the concept of being in business. You can be brilliant at what you do and still fail if you don’t set up your freelance effort as a business and treat it as such. Find out how to incorporate key business skills and tools to make your freelancing a success — or a bigger and better one.
• Effective Résumés for Freelancers, Rose “JobDoc” Jonas
Even in these days of online visibility through websites, LinkedIn profiles and similar ways to tell the world how great you are in your freelance niche, you often still need a résumé. Crafting one that works is a challenge, especially for those turning to freelancing after (or while still) working in-house. Find out what does and doesn’t work so you have the right document at hand whenever you need it.
• Your Best Publishing Option: Traditional, Hybrid or Entrepreneurial, Roger Leslie
As a freelancer, you decide how your books come to life. Knowing the key elements of book production, marketing and distribution direct you to the best publishing option for you. Choosing the publishing route that best suits your time, money and energy empowers you to do what you love most as your business and brand grow from a colleague whose goal is to help you “Live the Life You Dream.” Writers can use this session to get their work published; editors and proofreaders will find the session helpful in understanding how to work with aspiring authors.
• What Freelancers (Can) Do, Panel Conversation
You don’t have to be a writer or editor to freelance. Learn about opportunities for proofreaders, graphic artists, website developers, indexers and other types of freelancers — and resources they can use for success.

Sunday, October 13, 9 a.m.–12 noon
Freelancing 101: Launching and Managing Your Freelance Business, Meghan Pinson
Freelancing is a dream for so many people nowadays, and the “gig economy” is only expanding as time goes by. Learn when and how to launch and manage your freelance business to minimize the risks and maximize the advantages, along with tips about balancing work and family, among other important considerations.

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