An American Editor

May 15, 2019

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?

May 11, 2019

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

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

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

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

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

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

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

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

2019 C-C conf Registration

2019 C-C Conf Topics and Speakers1

April 22, 2019

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.

April 12, 2019

On the Basics: Finding joy in what we do

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

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

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

Sure!

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

Finding joy

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

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

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

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

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

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

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

Avoiding hassles

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

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

Weeding out the weasels

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

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

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

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

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.

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.

Next Page »

Blog at WordPress.com.

%d bloggers like this: