On the Basics: Coping with recent events

By Ruth E. Thaler-Carter, Owner

An American Editor

I’ve been quiet here because I haven’t known what to say about the various crises we’re all facing these days. I’m still not sure, but a few things started bubbling up that I hope will be helpful to colleagues.

COVID-19

The coronavirus pandemic offers some lessons for moving on and thinking about the future. Among other aspects, it’s a hard lesson in financial planning. I’ve written several times about planning for emergencies, and this event certainly qualifies as a huge one for so many of us. It reinforces the importance of moves like these.

• Try to save money as you go along. The best and easiest way to do this is to “Pay yourself first” — take a certain percentage out of every payment and stash it in a savings account. What you don’t see, you can’t spend. If the habit is ingrained, it will also be much easier to maintain in uncertain times.
• Diversify your work. If you freelance, make sure you have more than one client and type of project, just in case someone you rely on for income has to cut back. If you work in-house and can moonlight without jeopardizing your job, have at least one freelance project in hand. It could be a lifesaver if your company cuts back on your hours or salary during a crisis like this one.
• Swallow your pride. We all go through hills and valleys in our work. If yours tanks due to circumstances beyond your control, you might have to find a different kind of work to get by. At least one of my colleagues took a job with one of the big-box stores when her freelance work dried up recently. She plans to go back to freelancing, but in the meantime, she has a paycheck and health insurance, even if it means doing non-editorial work. Others have turned to some of the low-paying job sites just to have income for now.
  Several organizations have put together financial aid services for members and colleagues. If you need help, look for those resources and make use of them.
  If you qualified for any of the pandemic-related government loan or grant programs, try not to use all of the funds at once; sock some away in savings for the coming months — we don’t really know if the pandemic is under control or might come back in another wave.

• Live frugally. Don’t go overboard and make yourself and your family miserable, but try to keep impulse buying and living expenses under control. Such habits come in handy in difficult times and are easier to maintain if they aren’t new.
• Communicate. Most of us have been quarantined in recent weeks, many of us have been home alone and some of us aren’t comfortable with resuming regular activities yet. Try not to cut yourself off from the world, even when it seems to be coming apart. Use the phone, social media, blogs like this one, and resources of professional associations and community services to stay connected with family, friends and colleagues.
• Look after yourself. Get out of the house for walks around the block or neighborhood or to nearby parks. Take up new hobbies that you can do at home. Order meals from local businesses that do pick up or delivery. Ask for help if you need it. As businesses reopen and people try to go back to “normal,” continue to use smart health and safety habits.

Civil rights protests

The efforts to respond to, make sense of and prevent deaths of Black people by police officers don’t seem likely to end any time soon. As someone who worked for the Urban League and has been active in the Black press for years, I just don’t know how to handle recent and continuing events in this arena, or what to say here. I just hope there will be positive change, and soon. All I can suggest to colleagues is to be aware, make efforts to be inclusive and stay safe.

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 hosts the annual Communication Central “Be a Better Freelancer”^® conference for colleagues (www.communication-central.com), this year co-hosted for the second time with the National Association of Independent Writers and Editors (www.naiwe.com), sponsored by An American Editor, and (still) planned for October 2–4 in Baltimore, MD. She can be reached at Ruth@writerruth.com or Ruth.Thaler-Carter@AnAmericanEditor.com.

On the Basics: Where Do We Go for Our Own Editing Support?

By Ruth E. Thaler-Carter, AAE Owner and Editor-in-Chief

As often happens, I’ve been inspired by a Facebook post to write a column here. This time, someone asked where editors who are also writers find editors for their writing work. Here’s how I responded:

“Since I’ve been writing, editing and proofreading professionally for a looonnnng time, I’m lucky to have a network of colleagues and friends whom I can trust to look at my stuff if needed. If none of my go-to people are available, I give preference to anyone who has attended a Communication Central ‘Be a Better Freelancer’^® conference.
“I would never bother with a ‘nameless editing site’ or outlets like Upwork. If I didn’t know anyone to ask, I’d go to the EFA, NAIWE, ACES, EAC, SfEP, etc., to look for someone whose skills and background seem compatible.”

As a much-published writer, I get edited by some of my clients, so I know what it feels like to be on that end of the relationship or process. As a freelance editor and proofreader, I work on material by clients, some of whom are more nervous about being edited than others (although I’ve rarely had to deal with outright outrage). As the owner and editor-in-chief of the An American Editor blog, I edit colleagues regularly (and I hope sensitively).

As we all know, editing can be a delicate dance: We have to learn how to balance fixing obvious and more-subtle errors with retaining the author’s voice and not upsetting an author by the level or volume of changes we suggest. We have to learn how to relay our substantive changes with authority and tact — not always easy to do simultaneously. We have to be able to explain or defend some of our changes, which can be a challenge when there’s something we know is wrong but we can’t quote a specific rule to support what we think the author should do.

Being professional editors ourselves makes the search for our own editors both more challenging and more interesting. We’re likely to be more demanding about the skills and experience another editor brings to the process, and we might be more difficult to work for. Finding and working with editors on our own material can make us better at both writing and editing by reminding us of the value of that outside set of eyes on our work, and showing us where our writing needs help. We also might be grateful to learn how to make our own writing better, stronger, livelier …

As editors, we know how the process works. Some of us may have had challenging experiences with clients, so we know how not to behave on that side of the equation.

Steps in the process

The first step is to accept that everyone needs an editor (or at least a proofreader). No matter how experienced any of us might be, we can’t see our own writing with total objectivity. We know what we meant to say and often see that intent, rather than how a phrase, passage or entire article might come across to readers. We even miss clear-cut typos in our own work, especially if we’ve turned off spellchecker to enhance the writing flow or don’t use resources like PerfectIt or various Editorium tools to automate some of the process.

We have to put our egos aside so we can focus on what I see as the ultimate goal of editing: making the work better.

The next step is to define what we need or want from a colleague’s editing services, and whether we can pay for their help.

With all that said, where do we go (channeling the Chief Blue Meanie’s plaintive query to his sidekick Max in “Yellow Submarine”!)?

As I said in my Facebook post, I can’t see myself using online sources like freelance.com, Upwork, Reedsy, Craigslist, etc., to find an editor for my own writing. I know that many colleagues use such sites to find projects and find them worthwhile, but I turn to other channels. I start by looking among my colleagues for someone who has editing experience, has demonstrated strong knowledge of usage and all its aspects, follows the rules of groups or lists that we belong to, and seems as they would be sensitive to an author’s tender ego or at least knows how to relay suggested edits tactfully. In other words, I probably look for someone a lot like myself. We probably all would do that.

Having a colleague edit my writing work is usually a simple matter of contacting someone and saying, “Do you have time to look something over for me?” For those here who don’t have the great good fortune of a network like mine, here are a few tips.

• Edit yourself — set your manuscript aside for a day or two, and then go through it one more time to make sure it’s as clean and complete as possible. Try to view it through a reader’s eye to find clunky passages, danglers, missing facts, consistent style (especially with character names!), and any other elements you would look for in a client’s material.
• Put together a brief description of your manuscript or project — genre, length in number of words, preferred style, planned outlet if known, deadline, etc.; level of editing you want to receive; budget. (If you’re low on funds, think of ways you might be able to swap services, but remember how you feel when a prospective client wants Cadillac editing for go-cart prices.)
• Put your ego in your pocket.
• Go to reliable sources: the National Association of Independent Writers and Editors, Editorial Freelancers Association, American Copy Editors Society, American Medical Writers Association, Society for Technical Communication, Society of Editors and Proofreaders, Editors Canada, freelance sections of specialty groups like the Society of Professional Journalists or National Association of Science Writers, etc.
• Post or list your project with one of these professional associations, or identify a few people through their directories who look like a good match and contact them directly.
• Remember to let those you don’t choose to work with know that you’ve found someone.
• Go for it!

If you’ve had someone edit your writing work, how did it go? And are there resources I’ve overlooked that colleagues would find useful for this?

On the Basics: Rethinking Saving Everything

By Ruth E. Thaler-Carter, AAE Owner

For more years than I can count, I’ve saved everything related to my work: multiple paper copies of published articles and of pre-computer edited and proofread projects; electronic or digital copies from the days of 5 1/4-inch disks to 3.5 diskettes to Syquest and Zip disks to CDs; finished files on both my iMac desktop computer and MacBook Air laptop; cloud storage …

My theory was that we never know when a client might want to redo or update a project, and I wanted to be the freelancer whom my clients could rely on to have old copies of projects at hand, just in case.

I recently changed my mind about this approach. In preparing to move halfway across the country last fall, even though to a larger space, I found myself wanting to scale back on this extensive, bulky, obsessive wealth of backups. I had to empty out file drawers for the movers, and clear stuff off shelves and out of cubbyholes; the more I could get rid of, the more I could save on the move. A light bulb went off: It seems unlikely that anyone would want anything more than a year old, but even if they do, I could keep a paper copy of everything, so I’d be able to scan anything that someone might want, and update old versions in new, current editions of software.

I went through those file cabinets in my home office and weeded out all but one paper copy each of published works. Then I went back and pitched all the loose copies after I remembered that I have a copy of everything in notebooks organized by year and going back to the 1970s, which creates the one paper copy that all that I really need — in these days of websites and online portfolios, there’s rarely a need to send someone a paper copy of a finished project. Although my file cabinet copies were organized by client or publication name and the notebooks are organized by year, I’m pretty sure I can remember at least roughly when I worked with which clients and thus can pull old copies as needed.

Next, I got rid of all paper copies of edited and proofed projects — anyone wanting to update or revise any of those nowadays will send me an electronic file to work on, and a current version is likely to be different from the one I worked on years ago. Even if it’s the still the same, my edits should already have been incorporated, and it would make more sense to reread the current version as if it’s new than to try to copy old edits from the past. The clients should have paper copies of anything not available electronically and also should be the one responsible for scanning paper copies to create new versions.

I wouldn’t use those paper edits in pitching to new clients anyhow, because no one would want their “before” versions made public, even on a limited basis. I don’t need to wonder about that or to have signed anything promising not to show the edited version of a document to anyone other than the client. If a prospective client wants proof of my editing or proofreading skills, I’d rather do a short sample than risk embarrassing a past client by showing what I did on their projects, even if I can hide their names. And my website has (wonderful) testimonials from clients attesting to the value of my skills and services, often more effective than samples.

After trashing all those paper copies, I bagged all the various types of disks and headed to the local recycling center to dispense with those as well. I still have electronic versions of everything that’s a year or so old on my computers and in cloud storage.

I even gave up my dad’s little classic Mac and my ancient Radius CPU, taking those to the recycling center as well (after wiping their hard drives).

It felt wonderfully liberating to clear out so much old material — and saved a bunch of effort in packing, which probably saved some money in the way of moving costs. I’m hoping a client won’t ask for a very old project after all, but I’m prepared to defend not keeping ancient files or copies, and can always photocopy or scan my paper versions from those yearly notebooks.

The next task for the aspiring organizer in me: going through all those old business and tax records to get rid of everything from receipt copies to entire years’ worth of documentation! That will open up an entire bookcase … I won’t know what to do with those empty shelves.

For a little farther down the road, it’s time to clear out old computer files in my e-mail program, Dropbox cloud storage account and project folders on both computers … at least I can never say I have nothing to do!

How have you changed your processes for saving projects and client files?

On the Basics — Making time for marketing

Ruth E. Thaler-Carter, Editor-in-Chief & Owner

We’ve all heard the seemingly constant drum roll about the importance not only of marketing our editing services and businesses, but of doing so constantly, regularly, eternally. We’re expected to develop and post regularly to our own blogs, comment on colleagues’ blogs, be active in Facebook groups for our various business niches, post often at LinkedIn, blather on Twitter, join in professional associations, participate in the discussion lists and other outlets of those groups, create and send out newsletters, even be visually present in places like Instagram and YouTube. Not to mention attend meetings of those associations, go to the occasional conference, maybe even make presentations.

Oh, and don’t forget learning about and enhancing the keyword and search engine optimization (SEO) aspects of, and updating content at, our websites — assuming we’ve all created websites for our editorial businesses, or had them created for us.

On top of all that, there are also reminders to contact past and potential clients regularly with pitches for new work. It never ends!

Doing all that seems daunting, for introverts in terms of their personalities and extroverts in terms of their energy levels — and, more importantly, seems to leave little time for actual editorial work. One of my clients provides its clients with a list of awards worth entering, and just carrying that out — preparing submissions targeted to various awards, geographies, individuals and services — could require one or two full-time staffers (or freelancers!) with no other responsibilities.

What rarely gets mentioned is how to make time for all that promotional effort when there are actual projects to complete and deadlines to meet (not to mention a personal life). Here are a few ideas.

Oh, and by the way — marketing your skills is important to in-house editorial professionals as well as freelancers, although perhaps not as much. You never know when a full-time in-house job might suddenly go poof! and disappear. If you wait until that moment to start marketing yourself, it will take much longer to get noticed and rehired, and any interim freelance efforts will be much harder.

Start small

To keep from feeling overwhelmed, especially to the extent of letting the pressure to market keep you from doing anything at all, start on a small scale. Don’t commit to blogging every day or posting everywhere every day. Choose a given day, or week, for blog posts, and one or two channels to focus on at first. As the process becomes easier and more routine, increase the scope and frequency of your efforts.

Accountability

Establishing accountability systems is a great way to structure marketing — and work as well. Some colleagues partner with individual accountability buddies to keep themselves on track and make sure that neither marketing efforts nor deadlines go awry. Others participate in accountability groups whose members keep each other on schedule.

One of my online groups invites members to post about their recent successes every Friday. I’m not sure how much good that does for my business, other than keeping me in their minds when members of that group need to subcontract to or refer someone by reminding colleagues of the kinds of projects I handle, but it’s fun to do and a useful reminder of things I might want to add to my website. However, when the new Friday thread would show up, I couldn’t always remember what I wanted to post. I started keeping a Word document on my computer to record a week’s activities, achievements and issues as they occurred; when Friday comes along or I’m ready to do some website updates, all I have to do is copy from there.

Scheduling

One of my clients suggests setting a quarterly schedule for law firms to update attorney bios at their sites, to accommodate news about successes, new professional development activities, pro bono projects, presentations and publications, rankings, and other aspects of individual members of a firm that don’t necessarily change from day to day.

We editors and writers, both in-house and especially freelance, can do the same kind of thing. Having a schedule makes it easier to organize the information you need to add without making it feel quite as daunting to do. If you assign every Monday or Friday afternoon to marketing activities, and put that on your calendar as well, it’s easier to do those activities. Seeing them on your calendar also provides an often-needed nudge to pull together the information you need, or make the effort required, to get it done. It’s always harder to avoid something that’s staring at your from the calendar page or in that to-do list!

Automating

Another helpful approach is to automate your social media postings. There are a number of apps for doing this; you write a post — or several posts — ahead of time and the app sends out the information on a schedule that you set. All you have to do is remember to write something to be disseminated; the app does the rest for you.

Office hours

Using office hours to manage regular work can help free up time to do the marketing activity that we need to do. To keep from being overwhelmed by the combination of client demands or expectations with marketing efforts, set office hours and stick to them (at least as far as clients can see — we can work into the late hours, on weekends and holidays if necessary, but clients don’t have to know we’re doing that).

Many of us put our office hours at our websites. Others craft responses ahead of time to be prepared for those inevitable times when clients ask for work to be done at what we consider unreasonable hours.

Deadline-driven

Another approach is to treat marketing activity as an assignment. This is similar to scheduling specific days to do marketing: Put it on your calendar as if it’s a work deadline.

Networking

You knew I couldn’t write about a business aspect of editing without mentioning networking. Being active and visible in professional organizations, discussion lists, LinkedIn and Facebook groups, Twitter, etc., is essential to your marketing activity. Networking is where you meet and are met, see and are seen. The more people see that you are someone with skills who is worth working with, the more business you will generate.

Rewards

Beyond all of these approaches, some of us respond best to rewards. Be your own Pavlov and build in treats to motivate yourself to market your freelance business. A day off, a brisk walk, a generous helping of chocolate or ice cream, a movie outing … whatever makes you feel good about accomplishing a marketing goal, give yourself a reward for making progress. Sometimes the carrot of that reward is all it takes to push yourself to include a marketing effort on a busy day. And it doesn’t have to be a major move. Something as basic as updating a LinkedIn profile, adding new language to a website, answering a question at a discussion list, attending a networking event — it’s all grist for your marketing mill.

How do you make time for marketing your editorial work? What has worked best for you?

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 created and 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.

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.

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.

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.

On the Basics — Giving back?

Ruth E. Thaler-Carter

With Thanksgiving behind us and the commercial end-of-the-year holiday season well under way, it’s a good time to think about how, or if, we as editors might give something back in return for … something.

What might we have received that deserves a response of some sort? And what might be an appropriate response?

What we receive

When you stop to think about it, many of us receive a lot from various sources. As editors, and some of us as freelancers, we often receive answers to questions about our work, whether we have a confusing sentence to untangle, an unfamiliar phrase or usage to assess, a software or hardware headache to cure, or a business matter — sometimes even a crisis — to resolve. We might post those questions in online communities such as the Copyediting List, the e-mail discussion list or forums of the professional organizations we belong to, Facebook or LinkedIn groups, even Twitter conversations. We learn from blogs like this one and newsletters from various sources. Those of us who work in-house might ask for input from someone at the next desk or in another department. Many of us have vendors such as computer gurus to call on for help with technical or mechanical issues. We go to conferences, where we learn from colleagues in person. Some of us have gotten jobs or clients through recommendations and referrals from colleagues.

We can’t always give direct, concrete thanks to everyone who helps us do our work better. That’s one good reason to find ways to give back to the universe, if you’ll forgive a little psycho-babble, as is another: We don’t always even know who provides the answer to a knotty question or information we’ve absorbed without realizing it, and then used to solve problems — or perhaps just to feel better about life in general and our work, and selves, in particular. Finally, not everyone we interact with needs our information or insights, so we can’t always respond to someone who has been helpful with something of equal value.

How and why I give

There are so many ways to give, or give back.

In the professional realm, like many of us, I find myself giving back to colleagues through some of the outlets noted above: contributing to and answering questions through organizational memberships and their discussion venues, participating in online communities, speaking at conferences, editing the Editorial Freelancers Association (EFA) newsletter and presenting webinars for the organization, teaching classes at the Rochester, NY, Writers and Books literary center, hosting the annual Communication Central conference, etc. These activities have become as natural as breathing, and a regular part of every day. (And we might even benefit financially — the EFA, for instance, shares income with members who write booklets and teach classes or present webinars, and some organizations pay honoraria or expenses for conference speakers, or at least provide speakers with free access to the events.)

I might not be in a position to help someone who answered one of my questions, but I can provide perspectives to someone else that might be as valuable as what one of you gave me. And yes, I profit financially from some of these, but that isn’t my primary motive for doing them. It just feels good — and somehow right — to be of help to others when others have been helpful to me, whether they know it or not.

There are practical ways to give back — a commission, gift certificate, or box of chocolates to colleagues who provide referrals to new clients, for instance.

Another way I give back is by supporting organizations that have helped me in the past and/or promise to make life better for the larger world, especially women and young people. That means financial support, but also personal involvement whenever possible.

Two that stand out are the Encampment for Citizenship and the Minority Journalism Workshop of the Greater St. Louis Association of Black Journalists (GSLABJ).

• The Encampment has nothing to do with editing or freelancing, but was a major influence on my life. (Now that I think of it, though, that experience did have a connection to what became my profession, since I put together a yearbook for my program — my first effort at self-publishing!) I was 17 when I spent a summer at an Encampment outside New York City, and I’m still friends with fellow Encampers now. The program gave me exposure to kids from a variety of backgrounds, which was a valuable learning experience in and of itself, and opportunities to do community service in several areas; my group was involved in a youth conference at the United Nations, but we all participated in the whole Encampment’s projects. It also gave me confidence about my voice and my principles; confidence that I’ve carried with me ever since.

I helped revive, and now give back to, the Encampment because I believe it’s a program that we all need in today’s confusing, divisive, difficult world. The connection to my professional life is that I use my professional skills to edit material for the organization, which contributes to making the organization look better in its presentations to potential Encampers, parents, donors and others.

• The GSLABJ workshop was an eye-opener. It wasn’t something I benefited from as a participant; it was a program I helped with (primarily as a provider of food!) in its first year, back in 1976. The high school students in the program wanted to be journalists and were considered the best and brightest of their schools. When we asked them to take notes and write up a presentation by a community leader in the first session (the program meets for seven Saturdays at a local college), the results were incoherent and incomprehensible. I was appalled.

(For those who are wondering, I got involved in the GSLABJ because I was a reporter for the St. Louis Argus, a black weekly.)

After those seven Saturdays, thanks to the dedication of the professional journalists who gave up their weekends (and a lot of time between sessions as well), those kids were writing stories and producing TV and radio programs that were on a par with the work of people working in the profession. It was amazing. There’s something indescribably exciting about seeing a kid go from almost illiterate to highly functional and productive.

The workshop has continued in St. Louis ever since, and colleagues and former student participants have launched similar programs in DC, Memphis, Pittsburgh and elsewhere. I’ve given financial support to the GSLABJ workshop over the years, but now that I’m back in St. Louis (see …), I can — and will — provide hands-on involvement in the workshop again as well.

The tie-in to our profession as editors is, of course, that a program like this is giving young people communication skills they will need to work with or for us in the future.

Why give back?

One business-related aspect of holiday-season giving involves whether we with businesses of our own should give gifts to our clients. I do that every year; something small but personal (and purple!) to show appreciation for the fact that they sent/send me work and pay well and promptly. Client gifts don’t have to be extravagant — a promotional mug, pen, jump drive, etc., works just fine. The point is to let clients know that we appreciate their choosing us over other freelancers. Some of my clients even send me something at the holiday season!

Whether you call it giving back, paying forward or just plain giving, the rewards of helping colleagues and others are common knowledge. For those here who haven’t experienced the fulfillment of helping others on some level, whether in person or through your checkbook; whether in professional circles or personal ones; whether visibly or anonymously … I recommend ramping up your participation in the human race and finding ways to thank your colleagues and communities for what they do. You’ll feel better, and the world will be a better place.

Do you have a way to “give back”? Let us know how and to whom you give back, and why.

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?

On the Basics — All the Backups

Ruth E. Thaler-Carter 

A recent Facebook group post from someone whose computer conked out when she was on deadline for a project reminded me of the importance of different kinds of backup. We’ve talked about backing up files, but that’s different from backing up equipment — perhaps because equipment can be so expensive, while backup systems can be free, or at least less expensive than buying an additional computer.

Because our ability to meet deadlines and keep our commitments to clients is essential to a freelancer’s business survival, it’s worth assessing what kinds of backups we need to make that happen. These suggestions might seem obvious, but should be useful reminders of practical basics for a freelance business.

The Ephemeral

First, the easy — and inexpensive — stuff. To make sure files and documents don’t disappear mid-project, open an online backup account on Dropbox, Box.com, Google Drive, or something similar so you can stash items as you go along and once you’ve finished them.

If you believe in “belts and braces” (both a belt and suspenders to hold up a pair of pants, even if just one or the other would do the job) as I do, back up to Time Machine as well as an external hard drive, disks, or any other physical backup system that you find easy to use. Backups to your backups are essential, because you never know what will continue to work and which providers will stay in business.

Make sure your essential software programs are live and licensed on every computer you have, and that you have the original disks or downloads so you can reinstall them as needed. That way, if the software goes wonky on one machine, it should still work on another, or you should be able to reinstall it on a new one (or maybe even on a friend’s loaner, temporarily). Keep in mind that many, if not most, programs can be licensed for more than one computer. Know about those options before you need them.

Oh, and save-save-save! Remember to save as you work, the more often, (usually) the better. With lengthy and complex documents, consider doing a Save As with a different filename before Word gets cranky. You’ll have several versions of the document, but that’s better than losing even a few minutes’, much less several hours’, worth of work. The client only has to see the final version, and you can ditch the interim versions once you’ve turned it in.

The Physical

The reality is that computers are not infallible. Even the most-respected brands can develop problems, and my experience — as well as what I’ve observed among colleagues — is that they will break down when we have the fewest resources in terms of money, time, contacts, and material to deal with a crisis. In budgeting to launch or maintain a freelance business, the ideal is to save, set aside, or maintain enough funds and credit so you can have at least two computers with the same software on them, just in case one of them goes south or you can’t use one of them. If you have more than one computer, you can send current files to yourself so they’re accessible on both or all machines, and you can work on them no matter which machine is handy or which one goes rogue and stops working.

I have an iMac desktop computer and a MacBook Air laptop, with the same software programs on each, so I can switch between them as needed. I also have an iPad that my brothers gave me a few years ago that I can use for e-mail and some rudimentary other programs in a pinch. I even have an old MacBook Pro that doesn’t hold a charge on its own but still works when plugged in, just in case all of the other three give up the ghost at the same time. Not that I’m a pessimist, but you never know.

I’ve usually maintained two current computers because of needing to work in different locations, either within my apartment or on the road versus at home, but the old iMac conked out recently, making the laptop even more essential to keeping my work going than usual. I was lucky enough to have funds in hand to replace it right away, but if I couldn’t have done so, I could still get my work done and meet those deadlines.

The Collegial

There’s yet one other option to develop and maintain: offsite ways to work through colleagues. In case your electricity goes out, for instance, or something other event makes it difficult or impossible to work at home for a while, have alternatives already in place.

That can mean knowing where the nearest public library is with computers you can use, a cyber café, co-working spaces, etc. It also can mean having friends who might lend you a computer or let you come over and camp out at their place to get the urgent work done.

It also can be a lifesaver to belong to a local computer users’ group. Once you’re active in one, you can usually count on other members to help with troubleshooting, equipment loans, repairs at less than what retail vendors might charge, and similar hand-holding in a crisis.

If you’ve had a software or equipment crash in mid-project, how did you handle it?

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 or Ruth@writerruth.com.