An American Editor

July 11, 2018

On the Basics — A Fresh Look at Coping with Emergencies

Filed under: Business of Editing,Contributor Article,On the Basics — americaneditor @ 10:51 am

Ruth E. Thaler-Carter

When I urge colleagues to get and keep health insurance because even someone young, fit, and healthy can get hit by a bus, I’m usually half-joking. That was before, as some of you know, I recently had a bad fall, dislocating my elbow and tearing ligaments in my arm. This was the first time that an injury or other crisis meant not being physically able to do some activities that are key to my freelance business. I’ve kept working through the death of my dad, several years of caring for my mom and husband, and their deaths — all emotionally devastating, even if not unexpected, but not physically disabling. I even kept my work going when I broke my leg a few years ago.

This was different. I was only at the hospital for about six hours, but hors de combat on some level— unable to use one hand and arm — for more than a month.

It was surprisingly easy to edit and proofread one-handed in Word and Acrobat, and compose short e-mail messages and online posts (although making sure they’re typo-free adds time to each one), but not to write, even though I’m left-handed and the injury was to my right arm and even after graduating from a clunky cast to a splint to an articulated brace. I had a couple of writing deadlines to meet, though, so I had to get creative. Luckily, I already had notes for the most-urgent pieces; even moreso, a couple of local friends who let me dictate the stories.

In the wake of this experience, I have a few new — and renewed — tips for colleagues.

Take care of your overall health. The better you feel and the fitter, healthier, or stronger you are, the better — and probably faster — you can cope with a temporary physical crisis or disability. Even a permanent condition can be easier to manage if your general health is good.

Control your weight. Being overweight adds to the complexity of recovering from getting hurt or sick — needing more time to heal from an injury or recover from an illness, affecting your reaction to anesthetic and the types of support you might need, and adding to not only physical discomfort but emotional reactions to needing help with hygiene, dressing and undressing, and more. A hospital, rehab center, home-care provider, or physical/occupational visit can be awkward or embarrassing if you feel at all self-conscious about how you look.

Have health insurance. This should be obvious, but isn’t always easy to do, given the expense involved, but events like this are testimony to the unpredictability of life and importance of coverage. Having insurance meant I didn’t have to panic about ambulance, hospital, doctor, or physical and occupational therapy expenses — a huge relief.

Look into disability insurance. Not all injuries mean not being able to meet current deadlines or accept new projects, but many do. Being sick or injured enough not to be able to work, whether at all or at your usual speed and effectiveness, can ruin your freelance business and wreak havoc on your personal life. Disability insurance can be pricey and isn’t always available, but do your best to obtain it if possible.

Stay ahead of deadlines. Whenever possible, get work done early. Having less deadline pressure on your shoulders can make a big difference in coping with an accident, illness, or family crisis by letting you focus on healing.

On the other hand, keep up with as much of your work as possible while recovering, because having a deadline to meet can be a motivator for following doctor’s orders and doing physical therapy. Work can also be a good distraction from pain or sorrow.

Have some kind of cloud storage in place already — Dropbox, Box, Google Drive, etc. — in case you have to work on a computer other than your usual one. Having files backed up in the cloud and accessible from my laptop meant I could manage some website projects that I usually do on my desktop computer. I could even have worked from a hospital or rehab center bed if necessary.

Be honest but discreet with clients. What and when to tell clients about a crisis is always tricky. Once you establish what you can and can’t do, let clients know if any limits will affect how much or what kinds of work you can do while recovering — if it will affect meeting deadlines. Not everyone has to know about a personal or physical challenge. For those you must tell, focus on how you will get the work done. In case you’ll need help from a colleague, ask whether subcontracting will be acceptable.

Oh, and make sure someone knows how to reach your clients in case you can’t contact them for a while.

Practice for a crisis. As editorial professionals, we need maximum use of our arms and hands, and we don’t realize how much we use both until one is non-functional. Injuries to other limbs can be unpleasant (at best), but might not affect the ability to write, edit, proofread, index, etc. It can’t hurt to occasionally try using your non-dominant hand to type, take notes, and manage personal hygiene, from dressing to brushing teeth to washing up.

Build and nurture your network. This experience reminded me of a colleague who needed someone to accompany her for a same-day surgical procedure a few years ago, and had no one to help. Her own daughter couldn’t (or wouldn’t) go with her. Don’t be that person!

We all should be networking on a regular basis to build our editorial businesses and profiles, but also as part of being prepared for emergencies. Look for ways to help if a colleague or friend experiences a crisis or just needs advice. Networking is a two-way process. If you give as well as take, you’ll be in a better position to ask for help (from family, friends, and neighbors as well as colleagues) when you need it.

Invest in backup equipment. When I broke my leg, the cast made it easier to work on my laptop than at my desk. The same was true this time. Having the laptop meant I could work.

I’m investing in dictation software in case I ever need help with writing projects again.

Even furnishings can play a role — I slept in a recliner for several weeks and used one throughout the day to work while recuperating. If we hadn’t gotten those several years ago, I’d have had to buy at least one.

Keep that savings cushion healthy. Being injured or ill can mean not just having to pay for related expenses but filling an income gap if you can’t work while recovering. You might need funds for anything not covered by your health insurance, such as home care, errands, supplies and equipment, and other aspects of coping and recovering. The cost for anyone who charged to run errands wasn’t covered by my insurance, for example.

Being able to pay for rides to appointments or deliveries of groceries also can reduce any feelings of guilt about imposing on family and friends.

Don’t be too proud to ask. I find it hard to ask for help, but I had to — I didn’t want to leave my home for a rehab facility. Colleagues with partners, children, and pets probably would feel even more strongly about recovering at home.

I would have been lost without the generosity of family, friends, and colleagues over the weeks of being unable to drive and do various daily activities. This was all especially meaningful now that I live alone.

Now I’m thinking about ways to repay the generosity of everyone who picked up groceries; chauffeured me to meetings and appointments; straightened up my apartment; helped me get dressed; took dictation or subcontracted on a layout or website project; and simply called, e-mailed, or dropped by (with or without food) to see how I was doing. The local candy shop might benefit!

June 15, 2018

A Personal Note

Filed under: Editorial Matters,On the Basics — americaneditor @ 8:22 pm

Ruth E. Thaler-Carter, Editor in Chief

Dear Colleagues:

I’d like to apologize for being MIA here for the past few weeks. As some of you know, my beloved Wayne-the-Wonderful died in March. (The support from family, friends and colleagues has been amazing, and a huge help.)

An influx of work helped keep me reasonably sane, but took precedence over communicating with you. Posting here may be more fun, no matter how much I enjoy my work, but paying work does come first.

I was just feeling as if I had things under control and was ready to plunge back into posting here (and in social media) on a regular basis when I had a bad fall and dislocated my elbow and tore ligaments in my arm, so I’m functioning with one hand and arm for at least a couple more weeks. It’s been surprisingly easy to edit and proofread with one hand, even if it does take longer to get anything done, but writing that way is very difficult. Luckily, most of my phones have a speaker function, so I should be able to do the interviews necessary for a couple of writing assignments, and local colleagues have offered to take dictation for the actual writing process.

At some point (soon, I hope), I’ll translate these experiences into some new tips for colleagues to add to my past posts about planning for — and coping with — emergencies. In the meantime, please forgive my lapse in communication – and check out the updated post about the deadline for the AAE discount on registration for this year’s Communication Central conference, which has been extended!

April 9, 2018

On the Basics — Freelancing Means Many Bosses

Filed under: On the Basics — americaneditor @ 5:50 pm

Ruth E. Thaler-Carter, Editor in Chief

Many colleagues go freelance to get away from a difficult in-house boss, and certainly one of the pleasures of being a freelance editor is being your own boss. What many of us don’t realize when we go out on our own is that being a freelancer means having many “bosses” — and learning how to deal with the variety of behaviors or quirks that can involve.

When I’ve mentioned this in presentations or group discussions, by the way, some colleagues have objected to the word “boss.” I’m not an employee, because my client relationships do not fall into the guidelines established by the IRS that define an employee vs. an independent contractor and I don’t work only for one client, but I do think of my various clients as being my bosses in a way. While we don’t work together onsite every day, they set out the nature of an assignment or project, and I am expected to respond to their preferences and requirements. I don’t see the term as negative. However, if it makes our readers more comfortable, please feel free to substitute “client” for “boss.”

The Time Challenger

I still remember someone I wrote for years ago who called me at about 9:15 in the morning of the day a current assignment was due. I thought I had until 5 p.m. — close of business — on deadline day to send her my article, which was how my other clients operated, but she defined the deadline as first thing on that day. I didn’t realize that until I was running late according to her clock because time of day hadn’t come up in our conversation about the assignment.

Luckily, I was almost done with the article and just proofing my work, so I was able to send it to my client within the hour and be done well before the end of the day. I would have liked to give it more time, but we can’t always control these timelines.

Lesson learned: It isn’t just that some “bosses” expect to receive freelance assignments at the start of the deadline day, while others don’t care as long as your work reaches them by close of business on that day. It’s that different bosses/clients have different work and management styles. One aspect of succeeding as a freelancer is figuring out the work styles or preferences of everyone we work for, so we can head off any problems or conflicts that could arise in the process of handling a project. And you thought it was a challenge understand how your last in-house boss wanted things done!

What are some other client personalities, and how can you deal with them?

The Micro-manager

Just like a supervisor in a full-time workplace, a freelancer’s client — boss — can be a micro-manager. That kind of client is constantly in touch about the project, asking how it’s going, second-guessing your style decisions (and sometimes contradicting them), and otherwise halting your momentum.

You can’t change that personality, but you might be able to reduce the stress it creates for you. Try to set limits on interruptions. Use Caller ID so you can let this boss’s calls go to voice mail. Let the client know that you’ll be turning off e-mail at certain times so you can focus on the project and do your best work on it.

The Scope-creeper

Some clients are poster children for scope creep — when the nature of a project keeps changing. They send new pieces to add to a manuscript, change their mind about the direction or voice of the document, ask for more sources or other material, and otherwise mess with the scope of the project. What starts out as a straightforward copy edit turns into a substantive or developmental edit that will take you far more time than expected and could actually cost you money.

You can’t make someone rein in themselves or their projects, but you can take steps to protect yourself. First and foremost, you can include “anti-scope creep” language in your contract or agreement before you even start the project. Try something along the lines of “This rate/fee is for the project as described. Additional requests or requirements may result in additional charges.”

If scope starts to creep, with or without such language in your agreement, speak up immediately. Let the client know that a request (or demand) is beyond what you originally agreed to do or charge, and that you might need more time and/or more money to accommodate it. Say that you prefer not to go beyond the original scope without the client’s confirmation that the change will require more time and additional payment.

The Disorganized

Then there are the “bosses” who are so disorganized that you can’t count on a genuinely final manuscript to focus on and actually edit. They change their mind about style details or even the style manual to follow. They might send you the wrong version of the project and not realize it until you notice that it is not really ready for you to work on it or you send back your edit — or at best, are halfway through it. They revise material while you’re still editing what they sent you. Such a boss makes every project a nightmare.

There is little we can do about a client who is so disorganized that we can’t even assume we have a workable version of a project. It helps to skim all the way through the manuscript before starting to edit it, so you can see major problems as early as possible and confirm that you have the right version to work on. If the client continues to chop and change while you’re trying to focus on getting the work done, you can aim for developing tactful language to nudge the client back on track.

If all else fails, be sure to keep a record of requests and changes so you don’t get caught in a crossfire or held responsible for deadline delays that the client has caused.

Have you encountered challenging “boss” behaviors or personalities? If so, how have you dealt with them? What worked — and what didn’t?

March 21, 2018

On the Basics — Tackling the Other Kind of Writer’s Block

Ruth E. Thaler-Carter

There are two kinds of writer’s block. The one most of us are familiar with is when you have trouble starting to write something, whether it’s an assignment or just for yourself. You sit in front of the screen (or at the typewriter, or with your pen and pad; some of us still like the old-style writing implements) and nothing happens. If you write nonfiction, you have interview notes and background material, but you can’t put them together. If you write fiction, your imagination has fled, your ideas have dried up, your characters are flat and stale. Nothing flows. It’s terrifying.

A block can be caused by fear of rejection, feeling intimidated by a prestigious assignment, and any number of other emotional issues. Plenty has been written about overcoming writer’s block. Most suggestions involve stepping away from the project. I don’t avoid writing if I get blocked, though.

I’ve been lucky to rarely experience true writer’s block. I might procrastinate on starting to write something, but that’s a little different from actually being blocked.

The few (thankfully) times I’ve had to cope with traditional writer’s block, the easiest way to break free has been to write a letter, usually to my mother. Even after I moved back to my hometown and there was no need to write letters any longer because she was either across town or right downstairs, and even since she died, I would write letters to her if I couldn’t get started on a writing assignment.

There’s something about writing to someone who will be completely accepting and uncritical that frees up my mind and my muse. After a couple of paragraphs, I’m ready to plunge back into my current assignment and get it done.

Another Type of Block

The writer’s block that is less well-known and less-discussed is one against revision — the inability to rewrite something you’ve actually managed to write. Not so much for yourself, but for an assigning editor or client. I’m lucky again that I’m not often asked to do any major revisions on what I write, but it does happen on occasion, and I hate it.

Once I’ve done my interviewing and research, crafted a draft, edited myself, proofread the result, and sent off the article, I’m done. It’s out of my head and heart. I’m eager to see it in print or online, but I don’t want to revisit it (unless I have ideas for repurposing it somehow). Being asked to revise is frustrating at best and feels impossible at worst.

I’m not talking about minor details where an editor might question a turn of phrase or ask to confirm a factual detail. I’m talking about substantive revision for some reason. Usually that reason is that the editor or publication has decided to take a different angle than originally planned. It isn’t that I didn’t do a good job or didn’t fulfill the requirements of the assignment; it’s that someone wants additional information or to have the information approached from a new direction. (This is when, by the way, contract language protecting against change of scope is invaluable. If I get paid more to do a substantive revision, that helps oil the wheels of my brain and unblock my ability to respond.)

Several years ago, I pitched an article to a magazine for writers that I would love, love, love to be published in. I did something I rarely do: wrote the story and sent it on spec (that is, on speculation — without a contract or agreement, in the hopes it would be accepted; more about that in a future essay). They liked it, but asked for extensive revisions. It’s been sitting in a folder ever since. I was and still am totally stuck; I just can’t wrap my brain around what they want. The problem probably is that the revision request isn’t specific enough for me to respond to it. I can answer actual questions, but taking a whole new approach to the subject seems to have jammed my gears completely.

Every once in awhile, I take out that typewritten manuscript (that should tell you how long ago this happened) and think about re-crafting it for re-submission. I’m not sure if I could even reach the person who was the subject of the article; he might not be alive any longer. The editor who responded to the original submission is no longer at the magazine, which might actually work in my favor; the current editor might like the unrevised version! But the thought of that unfinished, and thus unpublished, piece is like the irritant in the oyster, and I want it to evolve into that bright, beautiful pearl.

It’s quite possible that just writing about how difficult it can be to revise what I thought was a finished work might do the trick and help me find a way into a new version of this article. One approach might be to go back to my original notes and start as if I hadn’t written the first version at all. One can hope.

The Blocked Editor

Writer’s block, obviously, applies to writers — but editors get blocked, too. A very dry or complex manuscript, a first project for a prestigious client, a huge manuscript that takes longer than expected, the need to learn a client’s wacky house style … an editor can get stuck and feel unable to keep going with a demanding project. Even an enjoyable project can push an editor into a work blockage if it collides with something less-interesting to work on, requires using a different style from your usual one, or arrives when you’re struggling with health or personal issues.

Traditional approaches to writer’s block can work for blocked editors.

  • Step away from the computer and your desk or home office, and go out for a walk.
  • Play a game.
  • Treat yourself to a meal or movie with a friend or family member.
  • Switch to another project.
  • Post to a friend’s or colleague’s blog.
  • Spend an hour or two on a craft project.
  • Envision how good it will feel to get it done — or how you will spend the fee.
  • Write a letter to someone.
  • Switch to another project for a while.
  • If the deadline isn’t imminent, give yourself a couple of days or the weekend off.

Just as I was writing the first draft of this post, I got a message from Writer’s Digest magazine with a mention of what might be a useful resource for anyone else stuck in this situation: Write and Revise for Publication by Jack Smith. I just might get a copy and see if it can help. In the meantime, I might take another look at that folder. The subject’s organization doesn’t seem to exist any longer, but maybe I can revise that story and get it out to the world — an updated version might look good to another market entirely.

Have you been blocked on a project? If so, how did you get yourself jump-started so you could finish it up?

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, associations, not-for-profits, 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.

March 7, 2018

On the Basics: Managing Your Freelance Business to Head off Financial Crises

Filed under: Contributor Article,Editorial Matters,On the Basics — americaneditor @ 9:51 am

Ruth E. Thaler-Carter

In a similar vein to my recent post about networking etiquette (On the Basics: Making the Best Use of Interaction with Colleagues), someone in a Facebook group recently asked for help in finding projects that would generate $250 “by Saturday.” That kind of plea might not violate the rules of good manners or effective networking, but it can damage an editorial freelancer’s image and reputation just as much as bogarting into a community of colleagues with a demand for their contacts and referrals before establishing credibility and connection with that group.

Money Matters

Most of us have had financial issues at some point in our freelance editorial lives — I certainly have. It can be quite frightening to need funds urgently, and asking for work leads is better than asking people you don’t know for money, but finding a new client and project that will generate a substantial fee in less than a week is unlikely. Some do pay almost as soon as they receive an invoice (usually via PayPal), but that seems to be a rarity. The standard in the business world is payment within 30 days of invoice date, and some clients are now using 45 and even 60 days as their payment schedules. We have to be prepared to wait for payment sometimes.

The impracticality of such a “need a fast-paying project now” request aside, it isn’t good for the asker’s image. It implies that the poster can’t manage their business effectively enough to head off financial issues, and doesn’t have personal resources — savings, family, credit cards, things to sell — to offset a crisis. Colleagues may be sympathetic when we experience business or personal financial issues, but might change their perception of someone who puts that out into a wide-open arena like Facebook. And clients don’t want to know. Even clients we’ve gotten to be friendly with prefer to see us as financially sound and responsible.

Here are some thoughts about protecting yourself from an urgent need for a couple hundred bucks in a couple of days, and from other financial issues that can arise.

Early Steps

For those who are starting your editorial businesses, try to have a cushion of savings in place before you launch. You probably won’t make a lot of money right away, and you don’t want to start out feeling desperate for funds. Desperation shows, and pushes us into making bad decisions about accepting projects that don’t pay what we’re worth. Having at least a couple months’ worth of expenses covered by a savings cushion will help you feel more secure and protect you against a crisis.

Once you have a savings account in place, use it! Not by spending what’s in it, but by “paying yourself” regularly. With every incoming payment, put a portion in your savings account for emergencies (and another portion in your business account for paying estimated taxes).

Be sure to set up ways for clients to pay you as quickly as possible, such as a PayPal account, so you don’t always have to wait to receive a check, get it to your bank, and wait some more for it to clear. PayPal might take a small percentage out of every payment you receive, but it means clients can pay you as soon as they receive an invoice. Like taxes and other non-negotiable costs, be sure to factor this fee into your overall billing structure.

Since most clients will only pay within 30 days of invoice date at the earliest, even if your invoice says “Payable on receipt,” consider budgeting to spend income 60 or more days after you expect a payment to arrive. That way, timely payments are a pleasant surprise and late ones are manageable. This doesn’t mean letting clients slide if their payments run later than promised — you would still chase down any slow payers — but it will help you manage expenses and income more effectively. You won’t be as dependent on the timely arrival of any one given payment, and you would head off panic caused by a late payment.

Think about alternative income sources in case you unexpectedly need fast cash: things you can sell on eBay or Craigslist, a business-only credit card you could tap for a cash advance, family members you could ask for a loan, good enough credit to qualify for a bank loan. This isn’t something to do on a regular basis, of course, but worth keeping in mind should a crisis arise.

Ongoing Techniques

Of course, one of the best ways to head off a financial crunch is to build up a steady stream of income. That takes focused, organized effort, including ongoing marketing.

Even when you’re in midst of a major project, remember to look for and line up a new one to start as soon as you finish that one. Otherwise, you’ll have a huge gap between getting paid for that project and finding, completing, billing, and getting paid for a new one. You might end up having to juggle overlapping deadlines on occasion, but too much work is better than not enough.

Aim for a balance between large and smaller projects. That should help ensure a constant flow of income, as well as a manageable level of work. Smaller projects might generate faster payments as well.

Depending on the type of client you work with, you might be able to negotiate advance payments for some projects, followed by incremental payments as you make progress on a manuscript. This is more likely to be doable with individual clients, such as academics or independent authors, than with publishers and businesses – but it never hurts to try to set up such arrangements. If you never ask, you never receive.

Develop visibility among and relationships with colleagues so they will think of you when they need subcontractors or someone to refer clients to for projects they can’t take on. We recommend and hire people we know, especially those who have shown skills and knowledge that we can respect and might need. (Establishing that kind of network takes time and effort, so be patient and proactive.)

Join professional organizations that provide visibility through membership directories or listings, along with job services, to expand your chances of finding new clients and projects. Use those memberships to enhance your reputation among colleagues by offering advice and resources, answering questions, and otherwise being useful and helpful. That’s the kind of activity that also can lead to colleagues remembering and referring you for new work before you even have to ask.

Establishing good relationships with regular or repeat clients can also come in handy if a crisis arises. Those are the clients you can contact about expediting a current invoice or even asking for an advance on an upcoming project payment. I’d only make that kind of request once, though.

It can’t hurt to sign up with some of the online job services, but be aware that most of them don’t offer leads to work that pays very well. Some colleagues say these resources can offer ongoing and fast-turnaround projects, though, so they are worth considering as a backup to your regular business activities.

The bottom line is to build up a regular flow of both projects and income so you never have to be the person who asks colleagues for help with finding $250 worth of work that will pay in a couple of days. Or has to ask family and friends for a loan. Or has to sell some blood to pay the phone bill.

How have you coped with a financial crisis? Even better, how have you organized your business (and your life) to head off such events?

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.

February 28, 2018

On the Basics: Making the Best Use of Interaction with Colleagues

Ruth E. Thaler-Carter

Networking and Etiquette

It seems to occur almost every day — someone in a Facebook group or on an e-mail discussion list says they’re available for projects and asks colleagues in the group to send work to them. They might ask for referrals or recommendations or say they’re available for overflow or projects, that they’re starting out and need work, that they’re having a slow period or just lost a major client; some even ask group members to share contact information for clients. It doesn’t matter exactly how they phrase the request, but the basic message is “Please give me work.”

These messages invariably are from people who have never been seen or heard from before. They haven’t introduced themselves, haven’t asked any questions, haven’t contributed anything useful in response to other group members’ questions. Some are new to editing or freelancing, with little or even no training or experience; some have been working for a while, but have hit a dry spell.

Just this past week, a new member of a professional association showed up at its discussion list with the fast-becoming-classic “Hi, I’m new here, please give me your contacts or overflow work and recommend me to your clients and colleagues” message as his first post to the list. He did present his credentials, but still — he posted the same information about his background (essentially his résumé, which is not considered de rigueur on a list) — six times in an hour or so. This did him little, if any, good in terms of respect or interest from listmates.

As with most online communities, it is important to understand that people we “meet” in these collegial environments can be generous with advice and insights into our craft — both editing and freelancing — but that there is a certain etiquette for becoming part of these communities. It is becoming clear that we can’t say it too often: Not only is networking a two-way street, but newcomers should listen, read, and contribute before asking to be referred, recommended, hired, or subcontracted with.

Perhaps even more important, newcomers should remember that established colleagues, both freelancers and in-house workers, are invested in their contacts and clients, and in their reputations. We have put many years into building up our relationships and reputations by providing skilled, high-quality work and respecting the privacy of those we work with. Most of us are more than glad to offer advice and resources, but are not going to risk our reputations, and our relationships with clients or employers, by handing off contact information to strangers.

Keep in mind that there’s a difference between saying “I have openings in my schedule,” “I’m looking for new clients,” “Expected payments are running late and I could use some new projects” versus “Give me your contacts” and “Send me your overflow work when you don’t know anything about me.”

Some editors (and freelancers in other aspects of publishing) may list our clients and projects at our websites. That is not an invitation for others to contact those clients to offer their services, although we have no control over whether someone might do so. We can only hope that anyone who does take advantage of that information doesn’t pretend to know us in the process, or suggest that we’ve referred or recommended them.

With this as a basis, how do we make the best of getting to know each other either in person at meetings and conferences or online in discussion lists and groups without ruffling feathers and crossing lines?

Newcomers to a group can (some would say should) sit back and observe — “lurk” — after joining to develop a sense of what is appropriate for discussion, the tone of the community, and more. Once that is clear, ask questions about the profession, the skills needed, worthwhile resources for enhancing one’s skills, how to break in (most of us love recalling and recounting our early years in the field or in business).

Look for opportunities to establish a professional image and be helpful. Answer colleagues’ questions (if you can). Suggest new resources that haven’t been mentioned or vetted. Relate experiences that demonstrate skills in doing editorial work or dealing with difficult clients. Announce good news about new training you’ve taken, clients and projects you’ve snared, even kudos from clients who are happy with your work. Dial down any boasting, but let colleagues know how your work and business are progressing.

It takes time to gain the trust, confidence, and respect of colleagues. Once you’ve done so, it might be appropriate to ask for referrals and recommendations. Before doing that, though, stop and think about how you would feel if someone you don’t know anything about were to ask you for the contacts and clients you have worked so hard to build up. Use that insight to influence how you word your requests, whether one-on-one or in a group setting.

On the Other Side of the Fence

For colleagues who have established successful editing careers and businesses, today’s culture can be annoying, but it can’t hurt to provide some kind of response to pleas for help.

I try to live by the good ol’ Golden Rule “Do unto others as you would have them do unto you” — and “What goes around, comes around” (or, as Billy Preston sang it, “Nothing from nothing leaves nothing”). When I was ready to start freelancing, I figured out most of what I needed to know on my own, but I also had some very generous colleagues. I tried not to take advantage of their time and knowledge, but it was so reassuring to know that they were available if I needed them.

Nowadays, even established, experienced editors and freelancers need help with the occasional sticky language, client, or technological matter, or even with financial dry spells. No one is immune. It makes sense to give back when possible, because we never know when we may have to ask for help ourselves.

I keep a list of useful resources to offer when someone asks for help in finding work. I also have a boilerplate response for people who ask — whether privately or in a group of some sort — for my client contact information, and for referrals, recommendations, “overflow work,” and other elements of my editorial business.

Helping colleagues feels good — and is an investment in karma: It might seem selfish, but you never know when helping someone out, even with just a list of resources, will come back to help you out in the future. I aim to enhance that karma through avenues like the An American Editor blog (both my own posts and those of our wonderful contributors), participating in lists and groups of colleagues, hosting the Communication Central “Be a Better Freelancer”® conference, referring colleagues whom I know for projects outside my wheelhouse for any reason, and even hiring or subcontracting to colleagues I know and trust.

The operative phrase, of course, is “colleagues I know and trust.” I might not have met some of them in person, but I’ve learned enough about them to feel comfortable with referrals or projects.

How do you respond to people who make what you feel are unreasonable or inappropriate requests for client contacts or business leads?

February 21, 2018

On the Basics: Developing and Posting Business Practices

Ruth E. Thaler-Carter 

Several things came together recently to make me think about aspects of my freelance business that I usually “just do” without conscious thought or planning.

It isn’t that I fell unthinkingly into being a freelance writer/editor. I did freelance writing for several years while working full-time, and one newsletter writing and editing project saved my bacon when I lost one of those jobs. That taught me to have at least one substantial freelance project in hand at all times, even with a satisfying full-time job. But I did reach a point in one of those jobs when I felt burned out and decided I was ready to freelance full-time.

Although I didn’t take what is common advice (including my own nowadays) to save several months’ worth of expenses beforehand, I did consciously plan the launch of my business: I negotiated turning that full-time, in-house communications manager job with a trade association into a freelance contract, along with finding two onsite editing projects. That meant I could start out with a known income and didn’t have to panic about finances, unlike unfortunate colleagues who experienced “involuntary freelancing” by being laid off unexpectedly, RIFFed (a government worker who was part of a Reduction in Force), or fired.

My approach was more reactive than proactive. I didn’t have a formal business plan, marketing strategy, set of policies, contracts, work process, or any of the other elements of what some people would say are important to a successful business. And I launched Communication Central with nothing but a list of conference topics and speakers jotted on a napkin! I would query potential clients — mostly publications and organizations I wanted to write for — and respond to unsolicited offers of projects, but none of it was especially organized, even though it was successful.

I did make a point of joining and being visible in professional associations even before going out on my own as a freelancer. Using the job bank of a regional writers’ group resulted in those two onsite projects that constituted two-thirds of my business when I officially launched my business, and helped me garner a variety of writing assignments as well.

I’ve done quite well over many years without a formal business structure for either my freelance business or Communication Central. Income went up and down over the years, but never down enough to be frightening. New work sometimes seemed to appear almost magically when needed. However, these recent developments made me think:

  • A friend and colleague posted about developing a mission statement for her coaching and presentation business. (She works primarily in the not-for-profit sector, where mission and vision statements are standard.)
  • A prospective client asked me about my process for handling editing projects.
  • Another prospective client asked how I handle deadlines.

I decided that it couldn’t hurt, and could help, to develop some formal guidelines for my business this year. Clients — whether current, prospective, or even past — might be reassured by knowing something about how I work and what my principles are.

My Business Principles

In thinking consciously about what I do and how I do it, I realized that I do have both a process and a set of principles or ethics to guide my editorial business. They may need some further fine-tuning — with each item I thought of, another one came to mind — but the essence is there.

Clients (and colleagues) can expect that I will do the following for the core services I provide.

Writing

Do research as needed for each assignment.

Write in a clear, active, direct voice.

Produce original material.

Quote or paraphrase sources accurately.

Include diverse voices as sources whenever possible.

Check facts.

Editing

Confirm and maintain client’s preferred style.

Maintain (and learn from) a library of current style manuals and grammar guides.

Retain/Respect the author’s or client’s voice and style.

Maintain consistency and accuracy throughout each document.

Check everything twice.

Proofreading

Stick to the proofreading perspective — maintain the distinction between proofreading and editing.

Any and all projects

Be reliable.

Meet or beat deadlines.

Provide quality and consistency.

Be accessible and responsive.

Provide new insights and resources.

Respond to clients promptly, pleasantly, and tactfully.

Track and respond to new trends and tools as they arise.

Continually learn new techniques and adapt to new technology.

Give clients more than they ask for.

Develop a network of colleagues for support in case of an emergency.

Respect and learn from colleagues.

Share resources and opportunities with colleagues.

Process

Provide prospective clients with background information.

Discuss project in detail.

Confirm client style preferences, project scope, rate/fee, deadline(s), revision policy, kill fee, cancellation policy, payment process, etc., before beginning project.

Request information about client — website, past issue(s)/previous edition, annual report, previous publications, CV or résumé, etc.

Obtain full contact information for interviewees and details of other research sources.

Alert client to any problems or concerns immediately.

Ask client before going beyond original hours or budget.

Complete project on schedule.

Invoice as agreed with client (advance and interim payments or on completion).

Do not accept projects involving unfamiliar technology or tools.

Wrapping Up

Now that I’ve clarified what I provide and how I work, maybe I should add something about what I expect from clients! In initial conversations about any new project, I do make a point of confirming as much of the project elements as possible and asking pertinent questions about how the client and I will work together (as noted in those process points). It might be worth posting the other side of the equation to my website. Something to think about.

Do AAE subscribers have written business practices, policies, or processes? If so, do these include any elements not discussed here? How do you relay them to prospective and active clients? Do you state any requirements for how you expect clients to work with you?

Ruth E. Thaler-Carter (www.writerruth.com) is the editor-in-chief of An American Editor; an award-winning provider of editorial and publishing services for publications, independent authors, publishers, and companies worldwide; and the owner of Communication Central, which hosts an annual conference for current and aspiring freelancers. Ruth can be contacted at Ruth.Thaler-Carter@AnAmericanEditor.com.

February 12, 2018

On the Basics: Onsite as Opportunity or Headache — The Freelancer’s Occasional Dilemma

Ruth E. Thaler-Carter

Being a home-based sole proprietor as a freelance editor brings many joys and benefits. We can work to our own preferred schedules, dress as we please, avoid rush-hour traffic aggravation, listen to the music or TV shows that we enjoy without bothering anyone (or being bothered by someone else’s choices) … the list goes on.

Every once in a while, though, some of us receive offers to work onsite as independent contractors. The reaction is often a knee-jerk “no”; as book designer Steve Tiano said recently in a LinkedIn post: “Why on earth would I want to work on-site as an independent contractor? That’s the pain-in-the-ass of getting up in the morning (or evening, depending), dressing up (okay, just a little, at best), traveling to their location — all like an employee, with none of the benefits of being an employee. This is really the most obvious example of a raw deal for a worker.”

As I responded at LinkedIn, Steve has good points. Those are all aspects of working onsite that make staying put in a cozy home office look even more appealing than usual. Add in the discomfort factor for introverts and it makes a lot of sense to avoid onsite assignments. But let’s not rush to judgment — or a decision — too quickly.

Steve’s post addresses the basic logistics. There’s more to the possibility of working onsite.

  • It’s good to be flexible as a freelancer. Doing the occasional onsite assignment is a great way to break out of your established routine and do something different; something that can refresh, rejuvenate, even renew your energy and interest in your work. That change of venue and the time spent with colleagues could provide new tools, approaches, and ideas that will be fuel for your business when you get back home.
  • You might profit from it. It’s possible to negotiate a higher fee for onsite work than what you usually charge — clients often respect onsite “consultants” more than home-based “freelancers,” and pay accordingly. You can use some of that to offset your travel, wardrobe, and meal expenses, and still come out ahead.
  • Working at home can be isolating and insulating; it’s easy to get a little stale. Interacting with people in real life might be intimidating for the introverted, but can be healthy (and even fun). I’m the poster child for extroverts, so this aspect is important to me — while I love the convenience of working from home and can’t imagine ever going back to working in-house, sometimes I miss being around colleagues. I like being able to check something with a human being rather than a computer screen, being asked to help someone in person, and sharing water cooler moments in real life.
  • Working onsite can be good for the ego. Every time I’ve done this, the people in the office have not only been pleased with my contributions, but have said so while I was there. That positive face-to-face feedback felt wonderful. Of course, this doesn’t always happen; some onsite projects can involve difficult supervisors and unpleasant co-workers who resent the “outside expert.” You could even feel isolated in the midst of a busy office — the assignment might mean working in a cubicle or room of your own, only emerging to leave at the end of the day and not getting any direct response to what you’ve done.

(To head off such issues, consider asking the client to introduce you to the staff before you start work, explain why you’re there, and assure them that you aren’t meant to replace anyone — only to help with an overflow situation or handle a technical matter for which you have special skills. Don’t wait for employees to make the first move — force yourself to step out of that cubicle and be visible to them. Ask for their advice on something or offer a compliment to show that you respect them and aren’t some arrogant expert with a superiority complex.)

  • Connecting with a client and its employees can lead to additional work. Once people meet you in person, they’re more likely to remember you when another need for a freelancer comes along (assuming you get along with these colleagues while onsite, of course). It’s also an opportunity to talk about what other kinds of editorial services you could provide, especially if something comes up while you’re there that you would never know about from your home office.
  • If the client’s office is in a building with other companies, working there means learning about those other companies and perhaps creating a bridge to working with them in the future. You could use the time before and after your onsite assignment to introduce yourself to someone at those other companies, or at least leave your business card there.

I do speak from experience: I’ve done onsite conference coverage several times over the years, and recently accepted an onsite assignment with a local client that was great. In terms of Steve’s points and that recent assignment:

  • I didn’t have to be there until between 10 and 11 a.m., and didn’t have to be onsite for more than a couple of hours each day, so it didn’t require an unusually early start to my day or coping with rush hour traffic in either direction. When the client wants you onsite, sometimes you can set the schedule.
  • It was at a creative agency, so I didn’t have to dress up; in fact, I was a little over-dressed for their casual environment. Of course, I like dressing up, so that wasn’t as much of a chore for me as it might be for others.
  • Their office was only about 10 minutes away, and my bank and grocery store are along the route there — where I needed to go even without that assignment. A client office a lot farther from home, and out of my usual loop, might be less tempting and more hassle than it would be worth.
  • They didn’t mind my bringing along my laptop, so I could keep up with e-mail while there, respond to any clients who tried to reach me, and do some other work while waiting for the onsite material to be ready — all while charging for my actual time there, even if I wasn’t working for this client the whole time (I asked about that before invoicing).
  • Their office was amazing. It’s in a renovated manufacturing building that I wasn’t even aware of, so I learned something new about local architecture. The kitchen alone was worth being there: gourmet coffee and snacks!

How do colleagues here feel about working onsite, at least on occasion? Have you tried it? If so, how did it go?

Ruth E. Thaler-Carter is an award-winning freelance writer, editor, proofreader, desktop publisher, and speaker whose motto is “I can write about anything!”® She is also the owner of Communication Central, which hosts an annual conference for colleagues, and the new editor-in-chief of An American Editor.

February 9, 2018

On the Basics: Colleagues Lost and Not Found — Preparing for the Worst

Ruth E. Thaler-Carter

No one likes to think about worst-case scenarios, especially for themselves, but we all have to do just that. Any one of us could easily have a crisis, or a colleague could have one, that affects our work. I’ve written about emergency preparation before (On the Basics: Coping with Emergencies, On the Basics: Some Ideas for a Strong Start to the New Year), as has Rich Adin (A Personal Odyssey: Preparing for the Worst), but recent events have hit quite close to home and inspired some new thoughts about this aspect of being a freelance writer, editor, proofreader, indexer, etc.

Have you experienced anything like these situations?

  • A usually ultra-reliable colleague hadn’t sent her newsletter column in by the deadline. She didn’t answer a couple of e-mail messages or respond to messages left on her landline voice mail, and her cellphone didn’t work. The only other way to reach her was through a couple of neighbors who had helped her in the past with sending and receiving e-mail when she had trouble getting messages. One of them eventually let me know that the colleague had fallen and died. She lived alone, had no siblings, children or close friends; no one in her professional organizations — we had two in common — had reported anything about her. If anyone had looked after her belongings, they hadn’t checked her computer to notify clients or colleagues about what had happened to her.
  • A client asked me to include indexing in a project that involved my editing the new edition of a textbook and a colleague laying it out, and said their preference would be the person who indexed the previous edition. I contacted the indexer, who was officially retired but said she would be delighted to do this project. About three months later, with the book edited and in layout, I tried to reach her to get the index going. Bam! I found myself up against a virtual brick wall. She didn’t respond to e-mail messages. She was on LinkedIn and Facebook, but didn’t respond to messages on either of those platforms. She didn’t have a website. I finally got her number from the client, but her phone number was out of service. Since I didn’t know this person, I couldn’t even contact anyone who might have been able to reach her or tell me what was going on.
  • A few weeks ago, I woke up with incredible pain in my side. I spent most of the day bent over in misery. I could sit at my desk and get some work done, but could barely stand up or move around, and the pain definitely affected my ability to concentrate. The pain went on long enough that I was seriously considering going to the emergency room.

Preparing for the Worst

Experiences like these reinforce the important of planning for the worst, especially if you’re in business. Clients (and family) depend on us. We can’t afford to leave them hanging, confused, frustrated, and eventually infuriated at our disappearance. A colleague’s Facebook post reinforced this: “… if anything happened to me, I would like other people to have a record of the work I had planned, what I’d finished, what I’d invoiced for, etc., so that clients could be notified of my non-availability.”

Dealing with the Problem

Here’s how I resolved these situations.

  • The newsletter contributor who died: I filled most of the issue space for her article with, sadly, an obituary for her and a short “evergreen” article in my files for the publication. I’ll put a call out for a replacement contributor in the next few weeks; this newsletter comes out every other month, so there should be time to find someone before the next deadline. It won’t be the same — she had a delightful, original writing voice — but necessity rules. I also will bulk up my stash of backup or evergreen articles: ones that are timeless and can be used at any time as needed. I strongly recommend that anyone responsible for an entire publication create such a file.
  • The missing indexer: I had to assume that the unreachable indexer was either incapacitated or dead. Luckily, I was able to bring in someone else who was both available and fine with the original person’s proposed fee. However, what if I hadn’t known other indexers? What if no one I knew had been available? What if a replacement indexer would not match the original rate? We all need to be plugged into networks of colleagues not just in our own fields, but complementary ones, at least if we want to provide services that are different from our own. While those resources might usually only be needed for referral purposes, they also could become part of your “team” for some projects.
  • My painful health issue: That severe pain receded by early afternoon and some online research and colleague/friend input reassured me that the major issues I was afraid of were unlikely, but I contacted the aides who sometimes help with my husband to be on standby and let my brother, who was serendipitously in town for the weekend, know whom to reach for computer input. I’m updating my list of client contact information and deadlines or processes (I work with several editing and proofreading clients on an on-call basis), as well as my passwords, and have asked two colleagues to be keepers of that information in case anything should happen to me that clients would need to know about. (My beloved spouse is computer-phobic and in poor health, so he doesn’t want to and can’t be responsible for anything related to my business or my computers.)

I plan to look at each ongoing project or client in terms of which colleagues might be good matches if anything should happen that means I can’t get work done, and will add their names and contact info to my client/deadline list. I also am more determined than ever to stay ahead of deadlines — including here!

On the personal level, we’re updating our wills, and I’ve asked my in-country brother and niece to be executors.

Preparation and Planning Tools

We all should have systems in place to let those who count on us know of a crisis, whether it’s temporary or permanent. Here are some of the tools that colleagues use to keep track of projects to make their editing lives easier — and make it possible for someone to step in, or at least provide notification, in an emergency.

Excel

iPhone’s Calendar app

Basic paper calendars for scheduling

Toggl for time tracking

QuickBooks for invoicing

An e-mail folder, Freedcamp file, and physical piece of paper to affix to a magnetic whiteboard

Freshbooks cloud-based accounting software to track projects, invoices, time spent on projects, and clients

Zoho for keeping client records, invoicing, and mass communications

Dropbox

http://waveapps.com for invoicing, banking, and accounting

http://www.officetime.net

On the personal level, especially if you live alone or have health issues, consider getting a medical alert system and setting up a way to be checked on regularly, just in case. The colleague who died in her apartment might have been saved if anyone had known she had fallen — she was still alive when she was found (albeit nonresponsive). When my dad died, my mother arranged for a neighbor down the block to check on her if she hadn’t called by 9 a.m. every day. One friend has an agreement for neighbors to check on her if her car hasn’t moved in X days; another’s “warning sign” is that the drapes aren’t open by a certain time every morning. You could ask a friend or colleague to check on you if you haven’t posted to Facebook in X days. Our building mail carrier knows that anything more than two days of uncollected mail implies a problem, and would let the manager know that we might need help. (Just because you live in an apartment building doesn’t mean anyone notices your routine or would act on any change in it.)

What have you done to ensure that clients, colleagues, and friends will know if you’ve had a crisis that requires notifying them or getting help with projects (or in general)? How are you following the Girl Scout mantra of “Be prepared”?

Ruth E. Thaler-Carter is an award-winning freelance writer, editor, proofreader, desktop publisher, and speaker whose motto is “I can write about anything!”® She is also the owner of Communication Central, which hosts an annual conference for colleagues, and the new editor-in-chief of An American Editor.

January 29, 2018

Signs that an Editor Might Not Be a Pro

Ruth E. Thaler-Carter

Today’s aspiring authors have a lot more resources for getting their work into readers’ hands than ever before, but often have little experience in the publishing world. That can make authors vulnerable to people who call themselves editors — whether of books or of other projects — but are not truly skilled or experienced in that realm.

Since I’m a writer as well as an editor and proofreader, I often think about editing matters from the author’s or client’s perspective. For subscribers to An American Editor who are writers, here are signs that an editor might not be a pro, so you know not to use the same person for your next book, or you might not want to hire an editor you are considering working with. You might even want to find someone to redo an already-published book so it does better in future sales.

For subscribers who are editors, these might be areas to consider when wondering why you aren’t getting as much work as you’d like, haven’t gotten repeat assignments from past clients, or are just starting out in the field. They also might serve as talking points when you want to explain to a potential client or employer why you’re the best pick — or at least an appropriate one — for their editing work.

As colleague Katherine Hinkebein Pickett has said, “Due diligence is essential to finding a qualified, reputable editor. When you know what to look for, you can hire your editor with confidence.” Equally, when we know what prospective clients might look for when choosing an editor, editors can power up their responses more effectively.

Authors don’t have to be experts in language and usage to notice some problems that could indicate work by an unprofessional editor, such as:

  • Every word in every title or chapter heading starts with a capital letter, including a/an, and, the, of, etc. (I see this a lot in online material, but that doesn’t make it right.)
  • Commas, periods, and closing parentheses are outside the quote marks (in projects using U.S. English).
  • There are commas before opening parentheses.
  • Basic spelling errors jump out at you or have been noticed by readers.
  • Punctuation is inconsistent or missing.
  • References/citations are all in different sequences or styles.

To head off such problems with your next book, or a new edition of the current one, here are some red flags to keep in mind. These also can function as suggestions for how editors can position their businesses better.

  • A prospective editor has no website, no testimonials at a website, no professional memberships, no LinkedIn profile/account, no formal training, no apparent experience, and/or no references.

A professional editor will probably have a website that outlines his or her training and experience, such as coursework from a respected publications program, in-house work, or a freelance track record. It should include testimonials from employers, colleagues, and/or clients attesting to the editor’s skills and approach, and references that prospective clients can contact (or a link to reach the editor to receive contact info for references).

The editor should belong to an organization such as the American Copy Editors Society, Council of Science Editors, National Association of Independent Writers and Editors, Society for Technical Communication, Editorial Freelancers Association, Society for Editors and Proofreaders (UK), Editors Canada, etc. Since groups like the American Medical Writers Association, Society for Professional Journalists, and National Association of Science Writers all have freelance sections and members who are editors, membership in them is also a good sign that someone is a professional.

Belonging to the Copyediting-L e-mail list and Editors Association of Earth (EAE) Facebook group also would be useful indicators of an editor’s professionalism and commitment to staying on top of trends in language in general and editing in particular.

Training could include having earned certificates from respected editing programs. Experience would, of course, include working in-house for a publisher, publication, or organization, or with individual authors. An editor who writes about the crafting of editing in his or her own blog, has published a book about editing, or is a regular and respected contributor to the editing-related works of others and lists or groups is also likely to be someone with experience and skills.

  • An editor hasn’t asked what style manual/guide you use or the editor should use, or hasn’t told you which one s/he will use for your project. There are several standard guides for using language and formatting documents. The Chicago Manual of Style, Associated Press Stylebook, American Psychological Association Publication Manual, and Government Printing Office Style Manual are the leading resources, with many more available for specific professions and industries. A professional editor is familiar with at least one of these and lets prospective clients know that’s the case, which should reassure authors who might be concerned about consistency and accuracy in their documents.

Identifying the dictionary that an editor uses is also helpful to clients. Spellcheck, as most of us know, is not sufficient, but even if it were, some clients have to be convinced by an authority other than the editor that a given word has been spelled correctly.

  • The editor’s only credential is a degree in English or a career as an English teacher. While knowing English is a plus (a strong grasp of grammar is essential for an editor), there’s a difference between what’s involved with teaching English and knowing how to edit. Simply having taught English or earned an academic degree in English is not enough to understand the importance and use of style manuals, publishing standards and conventions, and other aspects of editing.
  • An editor’s pricing is very low. That might be great for your budget, but is likely to be terrible for the quality of the editing. Someone whose rates are super-low is probably either new to editing or inexperienced, untrained, minimally skilled, and/or only editing as a hobby, rather than seriously committed to editing as a business and profession, with training and experience to match. From the editor’s perspective, lowballing your rates can make you look as if you’re new to the field, unsure of your skills, or desperate for work. If we don’t value ourselves, our clients won’t value us, either!
  • There are typos — misspellings, grammar and punctuation errors, etc. — in the editor’s e-mail messages, résumé, and/or website. An e-mail or word-processing program will highlight some of these issues for authors who are not sure of what is right or wrong. Some authors might not recognize such issues in communications from an editor, but they often are egregious enough for an amateur author to notice.
  • The editor promises 100% perfection or guarantees agent placement, a publisher, and/or bestseller status for your book. It probably would be easier to pitch an edited manuscript to an agent or sell it to a publisher, but having the manuscript edited is not a guarantee of getting published or selling lots of copies.
  • The editor claims to rely on spellcheck, online programs like Grammarly, and other tools to ensure perfection. Not only is perfection unlikely, as noted above, but it takes more than a mechanical software program to ensure high quality in editing. An editor who uses PerfectIt, the various tools at editorium.com, and EditTools from wordsnsync demonstrates a commitment to knowing about and using appropriate, respected resources to contribute to a better result, but doesn’t say those resources are all it takes to provide excellence in editing. The human brain and eyes are still essential to the process, which means experience and training are still vitally important to professionalism and providing high-quality service.

What have colleagues here encountered as examples of poor-quality editing, and how have you positioned your experience and skills to convince clients to hire you for editing projects?

Ruth E. Thaler-Carter is an award-winning freelance writer, editor, proofreader, desktop publisher, and speaker whose motto is “I can write about anything!”® She is also the owner of Communication Central, which hosts an annual conference for colleagues, and the new editor-in-chief of An American Editor.

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