An American Editor

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.

2019 C-C conf Registration

2019 C-C Conf Topics and Speakers1

April 12, 2019

On the Basics: Finding joy in what we do

By Ruth E. Thaler-Carter, Owner, An American Editor

Decorating/cleaning maven Marie Kondo hit the headlines recently when she was (somewhat mis)quoted as saying that no home needs more than 30 books. Those of us in the editing/publishing profession may have consigned this pellet of her advice to the litter box (we probably all have that many style manuals, dictionaries, grammar books and related tools of our trade, and that’s before we even get to reading for pleasure!).

However, one aspect of Kondo’s advice or approach to cleaning and decorating that we can consider is to find joy in our work lives. For Kondo, anything that doesn’t “spark joy” when you pick it up and think about its role in your life should be discarded. Can we take a similar approach to writing, editing, proofreading and related projects?

Sure!

Projects or clients that don’t spark joy should be avoided or dismissed. Of course, we don’t always know that a project or client — or regular job — will spark the opposite of joy until we’re neck-deep in a difficult project, entangled with a challenging client, or fending off an unpleasant boss or co-worker, but keeping this philosophy in mind as we start new work relationships can be an important first step in sparking and maintaining joy in our work.

Finding joy

If our editorial work doesn’t spark joy, why are we doing it? Life is too short to invest a lot of energy and effort into doing work that we don’t enjoy. Of course, we all encounter projects that are difficult or boring, and clients who are … challenging to work with or for, but those should be the minority in your portfolio. There should be at least one project — ideally most, if not all, of them — that is a joy to do, both in terms of the work and the client. Most of us also have encountered workplaces that spark more fear, resentment, anger or depression than joy — such conditions might be why many of us become freelancers.

We can’t always afford to walk away from a job, whether it’s in-house or freelance, but there’s value in seeking to get joy from what we do, and in using the idea of sparking joy as a basis for whether to keep going or start looking for alternatives.

I find great joy in writing articles that clarify intricate topics, introduce readers to new ideas and people, expand my horizons of contacts and knowledge, and generate a payment that I find acceptable. I find joy in editing and proofreading material to make my clients look better (see https://americaneditor.wordpress.com/2015/01/26/on-the-basics-a-love-of-editing/ for details). Seeing my name on my work, whether it’s in print or online, also evokes joy; even after all my many years in business as a freelance writer/editor, there’s still something thrilling about such recognition and visibility. It always feels like the first time.

It also sparks joy when clients pay not only well but promptly (so I make it easy for them to do so by using resources like PayPal and direct deposit). Getting repeat projects from clients, especially when I don’t have to ask to be hired again, is another aspect of a freelancer’s life that creates joy (and sometimes relief).

Those are practical aspects, of course, especially for those of us who are freelancers rather than in-house workers. The more philosophical or even emotional aspect is the joy created by receiving thanks and compliments for my work. I’m pretty confident of my skills and my value to clients, but it always feels good to have that validated — so good that I keep every single compliment in a file and post many of them to my website as testimonials.

Those comments have another role in our lives: When a client, colleague or employer is being difficult, or a project is not generating any joy, glancing at some of those compliments can turn the tide from depressed to delighted.

Clients benefit from being generous with praise and appreciation, too; those who provide such feedback are the ones who go to the top of my list when someone needs work done in a rush.

Avoiding hassles

There’s certainly no joy in dealing with difficult clients or projects. We can adapt Kondo’s philosophy to our editorial work by heading off many hassles through good ol’ common sense. While many colleagues have managed without contracts for years, we can protect ourselves from problems by using contracts when working with new clients. A contract doesn’t have to be complicated; it can be a straightforward statement of what you will do, at what length (number of words for a writing assignment, number of pages for editing or proofreading — with a definition of “ page”!), when, etc. (For invaluable insights into contracts, get a copy of The Paper It’s Written On, by Dick Margulis and Karen Cather.)

Imagine the joy of having language in place to rely on if a client is late with sending their project to you but still expects you to complete it by the original deadline; adds more interviews or other topics to a writing assignment, or additional chapters (plus an index, glossary, appendix or three …) to an editing project; tries not to pay, or at best, pays very slowly and very late; wants to acknowledge your services even after rejecting most of your suggestions and edits …

Weeding out the weasels

As Kondo implies, it’s possible to weed out our clients much as we might weed out our wardrobes and homes (we won’t include bookcases here). Because I have much too much stuff, including outfits I’ll probably never wear again, I don’t let myself buy anything new unless I get rid of something old.

We can manage our editorial businesses similarly: If you’re feeling overwhelmed, bored, frustrated or annoyed by the demands that a low-paying client or unpleasant workplace makes on your time and/or energy, make the effort to find one that pays better, or at least treats you better. Then you can ditch whatever has been creating negativity and taking your attention away from opportunities that give you joy in your worklife.

What sparks joy in your editorial work? How do you find and keep that feeling if a project, client or regular job starts to suck the joy out of your life?

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

December 31, 2018

On the Basics — Managing “Creepy” Challenging Clients and Projects

By Ruth E. Thaler-Carter

Into each editor’s life a little rain, in the form of difficult or challenging clients or projects, must fall. Here are a few examples, with some tips for how to respond to them that could make the new year a little easier for all of us!

Classic headaches

A recent social media post included these comments:

“… when someone books a 4k word edit then sends you 100k.”

“Client sent over and paid for 136-page edit, but kept writing and writing and sent over a total of 600 pages! Expected me to edit for price she already paid because I ‘owed’ her …”

Ah, yes — the infamous scope creep. These situations arise on a regular basis among colleagues, and not just editors. I’ve had writing assignments where the editor asks for additional interviews after we’ve agreed on a story length, sometimes even after I’ve finished the piece and turned it in. I’ve had proofreading work that turned into editing — sometimes even close to substantive work, although I prefer not to work that hard and only rarely accept such projects.

The impossible request

“Impossible” requests are another instance of projects that can become headaches if we accept them. Clients who are clueless about what it takes to get their projects done can ask us to meet deadlines that are downright ridiculous, but — again — sometimes it seems as if it’s more important to have work in hand than to maintain sanity about our work lives.

In a related social media conversation, a colleague posted about a client asking to have a 230-page thesis edited in not even two days. And that was before the poster had seen the document to verify whether her definition of “a page” was anywhere close to the client’s version. My guess is that checking the word count would reveal that the client’s 230 pages equaled 400 to 500 of the editor’s.

My response was: “In circumstances like this, I don’t give explanations. Just ‘I’m not available.’ I learned that lesson years ago from having people say things like, ‘Surely you can fit this into your vacation time’ or ‘When do you get back?’ Some will still say ‘When would you be available?’ and I use something like, ‘I don’t do this kind of work and never would commit to such a schedule/deadline.’”

Even if you work in-house rather than freelance, unreasonable deadlines can be an issue, but it’s harder to set boundaries with colleagues and bosses/supervisors than with prospective (or even ongoing) clients.

Offensive content

How to turn down a project that contains content we find offensive is another challenge for freelancers, especially those who really need income right that moment. “Offensive” can mean anything from political to sexual (erotica or porn) to violent to racist to any other type of content that goes against your personal comfort zone.

Rude and unpleasant people

Luckily, I haven’t had to deal with this often, but some clients turn out to be rude and difficult to deal with. Managing such personalities is a challenge at any time, but especially when the behavior doesn’t show up until you’re well into the project and have invested some, much less substantial, time and effort in it.

The big “why”

Some of that rude, unpleasant behavior shows up early in a client/freelancer relationship when a prospect brusquely questions your rates, no matter how you charge (by the word, hour, project, etc.). Challenging our rate structure indicates a probable PITA (pain in the … posterior) client; someone who starts the relationship by essentially insulting the editor’s stated value is likely to be difficult throughout the project.

Protective techniques

How can we defend ourselves against such situations? It’s always hard to say no to new work, especially for those who are desperate for every penny (trust me, I’ve been there). It’s even harder once there’s a serious prospect in place, and yet again when you’ve invested time and effort into at least the beginnings of a project that starts to morph into far more than you expected.

Protecting ourselves against such challenges often can make the difference between an editorial business that makes a profit and feels fulfilling versus one that makes its owner crazy as well as broke. We all may need to develop tough outer skins when it comes to situations like these, and learn when to “just say no.”

  • The first thing that colleagues in the scope creep conversation offered was “CONTRACT!” It can feel awkward to expect new clients to sign a contract, but whether you call it that or a letter of agreement, it’s something that can make a huge difference in how a project turns out. And not just from the financial perspective. Agreeing to do more than you originally expected a project to involve creates all kinds of problems. You’re likely to resent the client for creating extra (even excess) work for no additional payment, which can affect the quality of what you produce. The additional length means spending more time than you may have budgeted, which can interfere with meeting other deadlines or accepting new (and better) projects that come in while you’re wading through all those extra words.

I include language in responses to prospective clients along the lines of “I’ll provide an estimate of the deadline and fee once I see the manuscript and confirm the word count.” The estimate message and contract language include “Deadline and fee based on word count of X. Any changes or additions will result in a revised deadline and fee. If the work appears to require more time than expected, I will alert you before going beyond the agreed-upon time or amount.”

I should have mentioned in that online conversation that I also tell prospective clients that I define a page as 250 words (I went back to add that detail!). That can save a lot of hassle in explaining why the client’s 25 pages are actually my 50 pages or more, and why my fee and deadline are higher than the client might have expected.

  • When someone is rude or otherwise unpleasant in a phone or e-mail conversation, I respond with, “This isn’t an appropriate way to communicate with me. If you can’t be civil, we won’t be able to work together.” Sometimes that kind of response has to be repeated; if that’s the case, I go with the classic “Three strikes and you’re out” approach. I’d rather lose the job and the client than deal with someone who doesn’t respect my time and skills.
  • My response to questions about my rates is that they are based on X years of training and experience, and that the prospective client is welcome to look into working with other writers, editors or proofreaders if cost is their main concern. (I’m often tempted to say something like, “By the way, when you come back to me because the cheaper person you hire doesn’t work out, my rate will double,” but haven’t done so … yet.)
  • When I receive a manuscript that I find offensive or upsetting, I find a polite way to turn it down rather than subject myself to unpleasantness in my work life. I’ve used language like “I don’t handle this kind of material.“ Short, sweet, to the point. If I know someone who is comfortable with working on erotica, I might contact that colleague to ask if I can give their name to the potential client. For other areas, I simply send that “I don’t …“ message and hope never to hear from that author again.

As I was writing this column, I got a notice from the Freelancers Union about a blog post entitled “Five self-care fundamentals for freelancers.” The teaser text was: “By showing yourself how to treat yourself, you are by default providing a blueprint for how others should treat you.” That made me realize that setting out our guidelines for the kinds of work we accept as editors (or any other editorial freelancers), especially in terms of deadlines and fees, is a form of self-care. It isn’t healthy to let clients run our lives and impose crazy-making deadlines, rude behavior, insufficient payment levels, unpleasant material or other problems on us.

For any and all of these situations, the best technique might be to anticipate them and  prepare responses before such clients or projects show up. Having a script in place makes it much easier to respond to or head off problem clients, whether the “creep” is a matter of project scope, icky content or nasty behavior. The Girl Scouts have a point when they say “Be prepared.“

Let us know how you’ve handled situations like these.

Here’s to a healthy, productive new year, free of scope creep and other “creepy” aspects of our professional lives!

Ruth E. Thaler-Carter (www.writerruth.com) is the editor-in-chief of An American Editor and an award-winning provider of editorial and publishing services for publications, independent authors, publishers, and companies worldwide. She also hosts the annual Communication Central “Be a Better Freelancer”® conference for colleagues. She can be contacted at Ruth.Thaler-Carter@AnAmericanEditor.com.

December 26, 2018

On the Basics: Rudolph and Business Savvy

Ruth E. Thaler-Carter

The incessant, inescapable strains of “Rudoph the Red-nosed Reindeer” this past few weeks made me think of contemporary concerns such as bullying and related concerns, but also … business.

Bullying, exclusion and diversity because of the actual language and context, of course: The other reindeer “never let poor Rudolph play in any reindeer games” because he’s different. And our editorial businesses because of how Rudolph is suddenly the star — in demand — when his different-ness is needed.

The Rudolph of song and story is a good sport and happily, even eagerly, saddles up to guide Santa’s sleigh without a murmur. We don’t know how his fellow reindeer treat him after his big night — whether he remains part of the crowd or finds himself back in the corner when he’s no longer needed. Or even whether he gets some extra reindeer chow from Santa for coming through in a pinch. We can hope there’s a happily-ever-after, although my observation of much of human nature and behavior tends to make me skeptical.

What about that business aspect? I see Santa’s request for, and the other reindeers’ acceptance of, Rudolph’s special characteristic when they face a crisis as a version of the clients who only want us when they’re desperate — and even then, don’t actually value us. Many of us accept the equivalent of “Santa came to say, ‘Rudolph with your nose so bright, won’t you guide my sleigh tonight’” — last-minute requests, rush requests, requests over a weekend or holiday, requests for added content; crazy deadlines, offers of low rates, projects that “creep” beyond their original scope — for a variety of reasons: ingrained instinct to be accommodating, pride in our work, need for getting-started projects/clips, desperation for income …

There’s nothing intrinsically wrong with being Rudolph in any of these situations, and agreeing to whatever insanity they impose, but we also have to remember that we’re in business. Even though it can feel good to save the day and rescue the project or client, situations like these create stress, often unnecessarily, and can hold us back from financial success by wasting our time and energy on projects that don’t generate enough income for the hassle they involve. They also keep us from going after or doing projects that might pay better, or at least involve less aggravation.

We have skills that deserve respect. We have experience that deserves respect. We have training that deserves respect. To quote the immortal Aretha, R-E-S-P-E-C-T!

I’m not advocating alienating clients by Grinch-ishly or Scrooge-ishly turning down such requests for editorial work. (Wow, this holiday season offers more metaphors than I realized!) I’m just saying we might want to be more discerning, more discriminating, about how we respond to them.

For one thing, when the client needs you more than you need the client, that’s the time to charge more for your editorial services. Politely, pleasantly — but firmly.

For another, these are also the times to reexamine these client relationships (I hope you don’t have more than one client who treats you like Rudolph, if any). Have you been working for the same rate for more than a year? Have you ever charged a rush fee? Have you charged a late fee when you went beyond expectations but the client didn’t bother to meet yours for timely payment? Have you said no to an unreasonable deadline or a low-paying project? Now is the time to craft some policies along these lines.

The new year is also the ideal moment to think about these situations ahead of time and prepare responses that can become your default answers to such demands (and demands they usually are, as opposed to polite requests), so you aren’t blindsided if they crop up (and they will). For those who don’t appreciate and respect you, and only ask for your help on the editorial equivalent of “one foggy Christmas Eve,” it’s time to set a firm policy of rush fees, sticking to original deadlines or even (gasp) saying no. They might merit a holiday greeting card if they pay well enough to make the hassle they inflict worthwhile, but otherwise, I’d drop them from the list.

For the clients who value your contributions, services and skills year-round, this is the time to send a thank-you gift of some sort to show your appreciation for their business, if you haven’t already done so; it needn’t be big, extravagant or expensive, but it should happen. Even an e-card can have an impact, especially on clients who might be on the fence about continuing to work with you for some reason or whom you haven’t heard from in awhile. Many colleagues have said in various forums that sending a holiday greeting (or a vacation announcement) has led to at least one new assignment each time from a client who hadn’t thought of them until the greeting/announcement arrived.

Let us know how you handle unreasonable requests from clients, old and new, and keep from being treated like Rudolph the Red-nosed Reindeer. And here’s to being treated with respect in the new year — we are professionals; hear us roar!

Ruth E. Thaler-Carter (www.writerruth.com) is the editor-in-chief of An American Editor and an award-winning provider of editorial and publishing services for publications, independent authors, publishers, and companies worldwide. She also hosts the annual Communication Central “Be a Better Freelancer”® conference for colleagues. Ruth can be contacted at Ruth.Thaler-Carter@AnAmericanEditor.com.

November 21, 2018

On the Basics — Lessons from a Major Life Change

Ruth E. Thaler-Carter

As some of you know, I recently decided to make a major life change and relocate from my hometown of Rochester, NY, to St. Louis, MO, where I lived many years ago. The process has been exciting, unpredictable and even a little scary, but well worth all the hassle involved with any move, especially one halfway across country rather than across town. Some aspects have offered insights connected to the idea of editing and being in business as an editor that I thought our subscribers might enjoy.

Own your life

This move was inspired by a combination of factors. I found that I couldn’t handle staying where my husband and I had been together — I kept expecting him to be there in our apartment, or around an aisle at the grocery store, and it was painful. The experience and impact of loss is different for everyone; some people prefer to stay where they were happy with a spouse or partner, but it wasn’t working for me.

Within a few months of losing Wayne-the-Wonderful, I fell and tore up my arm, and couldn’t drive for almost three months. Because I lived in a residential neighborhood with no amenities in walking distance, that meant having to ask friends or pay for transport for everything — groceries, doctors’ appointments, entertainment, meetings. It was beyond frustrating. A walkable neighborhood became a priority.

A change of ownership and management for our apartment building, of which the less said, the better, was the third strike. It was time.

A “field trip” back to St. Louis proved that old friendships and professional connections were still in good shape. Before I even started to look at rental places, I fell over an amazing opportunity to do something I’ve never done before — buy a place to live. All kinds of things seemed to line up as signs that this was meant to be, and here I am, back in the Gateway City, where things are both familiar and new.

Edit your life

The biggest lesson of this process has been that it’s time for any and all of us to edit our lives! That is, most — if not all — of us have too much stuff, whether it’s personal possessions or work-related items; probably both. In trying to pack for this big move, I found myself assessing what to keep, what to donate and what to pitch on a scale unlike any other time I’ve moved.

I probably kept a lot of personal belongings that I could dispense with (and I expect to do further clearing out once I’m more settled in), but those were harder to deal with than the work stuff. In that realm, it was surprisingly easy to decide that I really don’t need two or more paper copies of my published work, and that resulted in emptying out two entire four-drawer file cabinets! I have a portfolio for every year that I’ve been working in publishing or communications, so I have a copy of everything I’ve written, edited or proofread, and one should suffice for both my own desire to have a record of my professional life and any client’s need for back copies of projects.

It also occurred to me that I don’t have to keep 5¼” floppy disks, 3.5” diskettes, Zip disks or Syquest disk versions of work from 10, 20 or more years ago. Clients do occasionally ask for old projects, but rarely anything that old — and if someone asks now, I can recreate a version through photocopying or scanning. I pitched what seemed like a ton of old disks — not without some trepidation, but also with a feeling of relief, of being unchained from so much stuff.

I also cleared a two-drawer file cabinet of handwritten notes from probably a couple hundred interviews for articles that have been published without any requests to clarify or verify information. From now on, I’ll keep notes for no more than a year after a piece is published. Anyone with complaints or questions going back farther than that will have to trust my reputation for accuracy.

I went through several drawers-worth of old files and records, clearing out anything I thought was pointless to keep now. I did keep business records going farther back than required, but as minimally as felt comfortable. Several boxes of paper, off to the shredder (and the boxes made available for packing!).

As I continue unpacking and organizing in my new home, I strongly urge colleagues to pretend you have to move next week or at most next month, and use that scenario to start sorting and editing your belongings to see what you can do without. Clothes you haven’t worn in a year or longer; dry and canned goods, medications, hygiene products, etc., that are past their expiration dates or not being used — trash the expired ones and donate the ones that someone else could benefit from; anything in a storage closet, basement, attic or junk room; and old work files that no one is ever going to ask you about again or equipment that you aren’t ever going to use. (I’m not even sure why I keep all those old portfolios, much less albums of personal photos going back even farther; it’s not as if I’m famous enough for anyone to need them to write my definitive biography!)

Be prepared

Any move can mean disruption of some, if not all, business systems. A new location, even in town, can mean new phone numbers (not an issue if you rely solely on a cell- or smartphone, of course), Internet access, bank accounts, mailing information and related aspects of both daily and business life. If you can take a break from work to focus on the move, so much the better, but most of us don’t have that luxury.

As I’ve said in other contexts, having an e-mail address based on a domain name makes it easy to relocate without losing touch with clients and colleagues, because any change in your service provider is invisible to your contacts. It doesn’t matter what company I use for Ruth@writerruth.com; I never have to tell anyone a new e-ddress because it doesn’t change, even if my actual provider does. (The same is probably true for national servers like Gmail, Yahoo, etc., but those don’t relay your brand and business identity in the same way as a domain-based e-ddress.)

Then again, actual Internet access can still be problematic. As I write this, my ATT service is having serious personality issues, and the technician is finding it challenging to resolve them. That’s a function of being in an older building, and a unit whose previous owner apparently did not use the Internet. I’ve had to warn a couple of regular clients that my access to e-mail might be spotty for a few days, and to call me (yikes — actually talking clients on the phone!) for anything urgent.

Before the move, I made a point of looking for, and luckily found, alternatives to my home system. There’s a public library about three blocks from my new place, as well as a wealth of nearby coffee shops and other neighborhood joints with WiFi service. My goal of being in a walkable neighborhood is proving to be a definite plus.

Most of the other aspects of the move have been easy to manage — opening a new bank account and redirecting direct deposits or debits, updating website contact information, forwarding mail, etc. It helped to have a financial cushion for the myriad unexpected aspects of both the move and the change from renting to owning; it seems as if something new, and potentially costly, pops up every other day. (Ah, yes — the joys of homeownership! Everything you’ve heard is true.)

It also helped to be reasonably up to date, and even ahead of deadline, on current projects so changes in scheduling everything from the movers’ arrival date to delivery of remaining furnishings (my big pieces will have to come into the apartment by crane through a window, because the elevator and stairwell are too small to accommodate them!) to wonky Internet access don’t turn into major problems. I highly recommend working ahead of deadlines at any time, but especially before and the first few weeks after a move.

The benefits of editing your life

An “edited” life is likely to be a better-organized, more-manageable, less-stressful life. I’m not advocating dispensing with any and all elements that make your surroundings fun and personalized (yes, all the purple bears came with me to St. Louis); just assessing what you don’t need, don’t use and don’t want to deal with if you have to move — or someone has to manage a move for you.

Moving to a new place can be exciting, and doing so with as little excess baggage as possible is liberating. Like editing a thorny document, editing my belongings is a cathartic and freeing experience. Every emptied drawer, every donated item, every bag of trash — it was as if I was getting lighter and lighter. It felt great!

The process continues — I continue to find more things that I can do without and I’m not sure why I kept. We do reach a point, at least in editing a life for a move, where it’s easier to just bring or keep everything and worry about it later. The problem becomes, of course, that it’s also easier to keep all that stuff (assuming you have space for it) than to continue sorting and culling; editing out what we don’t use or need.

There may not be an exact parallel to editing a document, but there certainly is one to editing your business life. And every unsorted box, pile or file drawer is something to do in-between projects, during a snowstorm or at any other point of life when time hangs idle.

I’m sure that other lessons or advice will occur to me in the coming weeks, but for now, I’m going to take advantage of being offline for a while (I hope a short while) to unpack another box or two. Wish me luck!

What lessons have colleagues learned from needing or wanting to make a big life change like a move?

Next Page »

Create a free website or blog at WordPress.com.

%d bloggers like this: