For those of you who think, like me, that RL Trask's Penguin Guide to Punctuation is one of the best things since sliced bread, then here's a little online nugget that my editorial colleague Etty Payne discovered: Guide to Punctuation. Written by Trask, this appears to be include much of the same content as that in his published book.
Okay, so the actual paperback doesn't exactly cost an arm and a leg anyway, but everyone loves a freebie! One thing a few pals have commented on is that there is one comma that Trask doesn't include: that of the vocative. That aside, Trask is a gem. His explanations are clear and comprehensive. If you want to buy the book, take a look at my article Books for Proofreaders for more information.
This Roundup pulls together all the links to editorial tools featured on The Proofreader's Parlour to date.
Huge hat tip to my colleague Averill Buchanan, who saved my bacon last week after sharing this excellent nugget of information for Dropbox users: How do I recover deleted files?
In a nutshell, you can restore any file that you've deleted from your Dropbox account in the past 30 days. Yes, I've put it to the test – after a bit of a tech meltdown in which I accidentally deleted a folder containing 900 cherished photos spanning the past eight years of family life, I recalled a Facebook conversation with a group of SfEP colleagues that included Averill's top tip. The recovery procedure was an absolute doddle and my snaps are safe. And this takes Dropbox beyond a mere file-sharing or back-up tool as far as I'm concerned.
In my latest guest article, this time for Find a Proofreader, I discuss how placing a portfolio of completed works on your website can show potential clients that you're a good fit for them. The article offers my thoughts on how you might structure the information and provides some links to the websites of several editorial freelancers who are doing this in different ways.
To read the article in full, visit the Find a Proofreader website.
If you edit or proofread PDFs, then you'll find the following links useful – keyboard shortcuts for two of the most popular PDF editors on the market, Acrobat and PDF-XChange.
I'm going to take this opportunity to give a big plug for PDF-XChange. For the purposes of marking up PDFs as part of the proofreading process, XChange is brilliant. And you don't need even need the paid-for version (which costs less than a quarter of the price of even an Acrobat upgrade) – the free Viewer is outstanding and has the same functionality as Acrobat 9 at least (I can't speak for X and XI because I haven't upgraded).
I actually prefer using XChange's Viewer for mark-up using custom stamps as the stamps palette is far more user-friendly: once you've uploaded your stamps files you can reorder them according to which stamps you need to access most frequently for a particular job. The palette is also neater and allows you to minimize the size of the icons so that more can be accessed without scrolling.
At the moment, however, XChange doesn't work on Macs, so the above comments are in relation to PC users only.
In Part I, Louise and Katy discussed their experience of writing about editing and proofreading, offered some hints about how to get started, and explained what topics they most loved to write about. Here in Part II, the conversation turns to blogging in relation to the wider publishing world, what they feel they've achieved to date, the challenges they've faced, and their future plans.
Q: Has blogging changed your view of the editing profession/publishing world?
Katy: Blogging has helped me to see common ground between editorial practices around the world – at least in those countries where editors work in English, since I don’t work in other languages! There are issues that confront all of us, particularly in the areas of technology, principles of editing, client management, freelancing … the list goes on. This is great because it means that if I want tips on developing a particular area of my practice, chances are I can find what I need in Canada, Britain, the USA, or elsewhere, as well as here in Australia. And my blog is part of that international conversation now. I love that.
Blogging has also made me realize that, much as I embrace learning every day about editing and publishing, there is almost too much information, too much noise, out there! (I’m aware of the irony: I’m a contributor to the general babble …) Look at how many blog posts there are on the theme of “the future of publishing”, and you can probably see what I mean. What it tells me is that all sorts of people are fascinated by, and trying to keep up with, where the publishing industry is going. But there’s a need to focus on those blogs that you trust and value in your own area of interest, and tune out the rest, at least most of the time. I don’t work on YA fiction, so I don’t follow that conversation. But academic, educational, professional and non-fiction publishing? Absolutely.
Louise: I, too, love that idea of being part of an “international conversation”. The fact that you and I can have this conversation, and share it on our blogs, simply couldn't have happened two decades ago!
I came from the world of academic publishing – in fact, I've worked in it for my entire career (22 years and counting) – and blogging has expanded my view of that profession. The Parlour has given me the chance to interview publishers, and not just the academic ones that I’m most familiar with. One of my favourite presses is the Norfolk-based independent, Salt. I had the pleasure of doing an interview with one of its directors, Jen Hamilton-Emery. Our discussion highlighted how much Salt values and supports its authors. There’s so much negative talk in the blogosphere about publishers but that particular interview was a brilliant reminder that publishing is not a homogeneous entity dominated by celebrity memoir or cripplingly expensive academic journals. It’s vibrant, creative, nurturing, and exciting! One of Salt’s authors, Alison Moore, ended up in the Man Booker shortlist with her fabulous book The Lighthouse – it’s wonderful to engage with people in the publishing industry who are so committed to writing as art.
And then there’s the author point of view. Blogging has given me the chance to talk to writers, too. Recently, speculative-fiction writer Michael K Rose joined me for a chat. Another great example is fellow editor and debut novelist Eva Blaskovic. I interviewed her before she’d even finished her novel, BEYOND THE PRECIPICE. Now she’s at the submission stage. Blogging has given me (and my readers) the opportunity to follow her journey, which is an true privilege.
Q: What achievements are you proud of so far?
Louise: It’s not so much about achievements but rather the feedback I've had that’s been so thrilling. To give one example, I've had an incredible response to the PDF proofreading stamps files that I posted online early on in the Parlour’s life. Hundreds of people from all over the world have downloaded them and many people have taken the time to thank me for making them available. A couple of major UK publishers are even recommending them to their freelance proofreaders. When you know that the content you've placed on your blog is helping people to work more productively on different platforms, and expand the skill sets they can offer to clients, it makes all the hard work you put into it worthwhile. It’s a reflection of the fact that you are managing to communicate with people – the blog isn't just some isolated entity in the digital universe; rather, people are actively engaging with it.
What about you, though, Katy? PublishEd Adelaide was nominated for an excellence award, wasn't it? Tell me a bit more about that. That must have meant a lot to you. It was certainly well deserved!
Katy: I’m so glad you've had that positive feedback – that must feel great! I guess I’m mainly in this for the pleasure I get in writing about the job I love, and also for the feeling of community I get from sharing information, advice, resources, and all the rest of it. And feedback from readers is part of that feeling of connection. In terms of achievements, though, the highlight was (as you mentioned) being shortlisted as a finalist in the Sydney Writers’ Centre’s Best Australian Blogs Competition 2012. I had only been writing for 6 months at the time, and wasn't expecting to place anywhere – so it was a big deal for me. The nicest part of the experience was meeting other bloggers – particularly Lisa Hill of ANZ LitLovers LitBlog, who won the category PublishEd was in – and of course the free publicity didn't hurt either!
Q: Any challenges that you’ve faced?
Louise: I think the biggest issue I face is trying to keep the structure of the blog accessible. The larger the repository, the more important it becomes to help readers navigate their way around it so that they can find the information relevant to them. I recall Katharine O’Moore-Klopf talking about just this issue with regards to her wonderful Copyeditors’ Knowledge Base. Something that good, and that popular, takes on a life of its own, and can grow too big for itself if the structure isn’t right. Katharine’s worked hard to make sure that her visitors can find the information they need and I've taken note of that. Blogging, as I’m sure you’ll agree, is not an exact science, so I’m learning from my colleagues all the time – looking at what they’re doing, how they’re structuring things, the way they communicate the information they’re publishing – in the hope that I might achieve their standards of excellence.
I’m also just starting to find comment spamming an issue. I guess that’s inevitable once your blog starts to make an impact. Have you had any problems with this or are your main challenges in other areas?
Katy: I don’t get a lot of spam, thanks to Akismet, which is WordPress’s filter of choice. The junk mail that makes it through is often comedy gold. Who doesn't like being addressed as “Dear Kind Web Admin Officer of the Web” and being offered cheapo SEO services in dodgy quasi-English?
Seriously, my biggest challenge without a doubt is finding the time to write. This year has been a crazy/busy one, with a real mix of personal and professional challenges, both good and bad. Sometimes the blog is a solace, allowing me to retreat to my office for a couple of hours and just write. Sometimes it has to just sit for a few weeks until I have time to get to it, and that feels pretty awful. Since I've had an editorial calendar, I have been better placed to prepare posts well before the planned publication date, which means that I have a little stash of posts ready or almost ready to go. This has made a big difference to the practical side of managing my commitment to the blog in harmony with the rest of my life (which is less about high-brow editing talk and more about dashing from home to school to office to childcare to … OK, I’m now out of breath!).
Louise: I know what you mean! My partner refers to my laptop as my other lover! Time’s a huge issue. I often do my writing quite late at night, but our old friend Muphry does come alive in the wee small hours so I always hold off from posting until the next day. That gives me a chance to look at the piece with fresh eyes and make any necessary revisions.
Q: What do you want to do next with your blog? Any news or plans to share?
Katy: I’m about to go solo as a full-time freelance editor, and I’m hoping to have a little more time to devote to writing – although I could be wrong about how much time I actually have! I’d like to get more editors to write about their experiences, particularly sharing thoughts about living and working as an editor. I’m also planning to develop a new, client-focused blog at my business website, which will be more about hints and tips for effective writing and manuscript development. My focus at PublishEd and at the business site will continue to be on the practical management of writing and editing projects. I’m excited to start exploring issues that are important to authors, in particular, as editing can be opaque and even slightly scary-looking for authors who are either new to working with an editor, or facing specific challenges in their editorial relationships.
My big message is that editing should be a friendly, collaborative process – and it can even be a meeting of creative minds if you’re really lucky. Make it work for you!
Louise: That’s really exciting, though with two blogs rather than one I can see that you’re going to be as busy as ever! One thing I’m really keen to do is expand my coverage of freelancing from the client’s point of view. Publishers are key clients for me and for many of my colleagues. If you've never worked in publishing then it can be difficult to ascertain what publishers are looking for. With that in mind, I've recently started a new feature called Client Talk that interviews the people who employ people like you and me. To date I've two marvellous contributions from a UK project management agency, Out of House Publishing, and US education press Corwin. It’s been fascinating to hear their take on the developments taking place in publishing, the stresses and rewards of in-house production processes, and the hurdles freelancers have to go through to work with them.
Obviously this story will differ depending on where the client is based and what product they’re publishing. Over time I aim to be as international as possible and post contributions from organizations elsewhere in the world, too – Canada, Australia, India, the Netherlands, South Africa, Germany and France, for example. In the future, I’d like to make room for more self-publishing authors, too, to find out how they use people like us, how the find us, and what their concerns and expectations are. Indie author Michael K Rose has already contributed a great piece for me, and that's a great start to getting under the skin of the self-publishing market.
Thanks for chatting with me about all of this, Katy. I've really enjoyed our collaboration!
Katy: Likewise, Louise! It's wonderful to be able to share our discussion on two blogs from opposite sides of the world!
Click here to read Part I of Katy and Louise's blog chat.
Katy McDevitt is the editor behind the PublishEd Adelaide blog. Based in Adelaide, Australia, she has commissioned and developed books and other resources for some of the world’s leading publishers in the UK and Australia, including Cambridge University Press, Taylor & Francis, Pearson Education, and McGraw-Hill. Katy’s freelance business is Katy McDevitt Editorial Services, specializing in developmental and copy editing for publishers and authors of academic, educational, professional, and non-fiction materials.
Louise Harnby is the proofreader behind the Proofreader’s Parlour. Now based in Norwich, UK, she began her career in publishing in 1990 with medical publisher Williams & Wilkins, and then moved to SAGE Publications, where she spent 15 wonderful years in the world of social science. She set up her freelance business Louise Harnby | Proofreader in 2005 and specializes in proofreading social science, humanities, fiction and commercial non-fiction books for academic and trade publishers.
For new entrants to the field, there's a lot to think about when setting up your business, and it's especially with these people in mind that I've shared this template. If you're a newbie, perhaps you can use this as an interim way of managing your accounts – one less thing to worry about for now!
This template includes a number of columns with formulae that I find useful. The Status column is particularly helpful because it automatically lets me know when an invoice payment is overdue. The formula here is derived from the Paid, and Payment Due columns. The Payment Due column formula is derived from the Invoice Sent and Payment Terms columns. As soon as I receive notification that an invoice has been paid, I insert "p" in the Paid column; if payment has not been received by the due date, the cell in the Status column turns to bright orange and I know it's time to chase my client.
Another thing I like to do is differentiate between different stages of the process. I use black text for complete and paid-for projects, red for complete and payment pending, green for active, and blue for forthcoming. It helps me to see, at a glance, what's going on in my schedule, especially when a client asks about availability.
I keep track of whether the job will be returned to a client via email, the post office or courier (at the client's expense). The UK's HMRC allows the freelancer to offset a percentage of mileage costs against their tax liabilities.
I've also elected to have a little summary box at the bottom of the spreadsheet. This shows me my average earnings, my average hourly rate and my average rate per 1,000 words. These figures are really only for curiosity, since each job varies quite considerably in size, type, budget, difficulty and speed. If I was doing any serious analysis I'd look more deeply into the data to assess whether there are patterns in terms of, say, client type, service offered and subject matter.
Feel free to copy, amend or ignore as you see fit. You can add your own formulae to particular columns if the way in which you charge for your work differs in some cases. I'm no Excel guru but I am familiar with the basics, so if you're unsure of the correct formula that you'd need for a particular cell or group of cells, feel free to ask.
Louise Harnby is a professional proofreader and the curator of The Proofreader's Parlour. She is also the author of Business Planning for Editorial Freelancers, Marketing Your Editing & Proofreading Business, and Omnibus: Editorial Business Planning & Marketing Plus.
Visit her business website at Louise Harnby | Proofreader, follow her on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
PlagTracker is a plagiarism-tracking tool that I've used to my own advantage, and perhaps you can, too.
In a recent article posted here on the Parlour, Julie J Carr discussed plagiarism-prevention tools from the student perspective. PlagTracker was one of a number of free online tools that students can use to ensure they don't fall foul of accidental plagiarism. Says Julie, "[It] automatically compare[s] the text with all web pages and over 20 million academic papers from different university databases to generate a complete plagiarism report. The report shows the percentage of the work that has been plagiarized and the original sources of each plagiarized phrase and sentence. The free service limits the amount of text that can be checked in one go to 5000 words."
You can turn this tool on its head if you're proofreading for students. If you're like me, you have strict caveats about working on Master's dissertations and doctoral theses, and don't want to assist plagiarists. If you're proofreading a student's work, you can run it through PlagTracker and generate your own report. You'll probably have to do it in several batches, unless the dissertation is very short. Of course, no software can guarantee that plagiarism hasn't occurred but PlagTracker could highlight some major issues.
Note: Heed, too, the wise words of my editorial colleague Liz Broomfield, who recently spotted serious plagiarism after a student had downloaded large chunks of text from an essay-selling site. I asked how she tracked it down. "Easy," she replied. "Bad English suddenly turned into good English. Such a give-away. Googled a sentence and there it was!" Which serves as a good reminder that common sense will often do the job just as well as a piece of software. If something looks suspicious, pop the offending lines in your search engine and see what happens.
Providing potential clients with a first-class proofreading service can sometimes mean sending them in the direction of your colleagues …
Most of my proofreading work comes via publishing houses – and at that late stage in the process I rarely have direct contact with the authors. These presses will try to place their books with proofreaders who have experience of working on similar texts and a proven track record of following their house brief successfully. The relationship is therefore between me and my in-house production editor.
When I’m approached by independent writers (self-publishing authors, students and business people) the relationship is different. It’s not always enough to be able to proofread – the clients are looking for a mental fit, too. They’re about to trust you with something personal to them and want to feel that you’re enthusiastic about the job, interested in what they've written, and have their interests at heart.
A Norfolk-based author recently contacted me about proofreading his local-history book. He’d googled “Norfolk proofreader”, found my website, sent a sample chapter, and asked for a quote. Importantly, he was looking to exploit the East Anglian Christmas market so we really needed to get cracking immediately. Now, I’d have loved to work on this book with him – there’s something really special about working with local publishers and writers – but the time frame was impossible for me. At that stage I couldn't have begun work on the project until the beginning of December and he really needed his book to be rolling off the presses by then.
I could have just knocked it on the head, but I wanted to help him find the right person for the job. I knew that he wanted someone who could take on the job immediately and I knew he had a preference from someone local. We chatted about what his needs were and then I offered to put him in touch with my fellow Norfolk-based Society for Editors and Proofreaders’ group, and I told him about the SfEP’s Directory for Editorial Services and the Find a Proofreader website. He took the offer of the first and followed my guidance regarding the second and third. Within 24 hours my could-have-been-client had the perfect person for the job – a colleague from Norfolk who impressed with his sheer enthusiasm for the project and the ability to work within the desired time frame.
Shortly after, I received a lovely email from the author, thanking me profusely for the “exceptional service” I’d provided. Okay, so I didn't get the job, but what goes around comes around in this business. Perhaps he won't forget me – the bottle of wine delivered by mail is some indication of that – and who knows where that little bit of help I offered might lead … a future conversation with a colleague or friend might generate a referral, or perhaps I’ll be available for his next project.
Providing a first-class freelance editorial service is about more than getting the grammar and punctuation right – it’s about helping potential clients find the best fit for their project, even if at times that fit isn't you. Going the extra mile is simply another way of marketing your business – with the added bonus of knowing that you behaved like a decent human being through offering a helping hand.
Here's a small batch of stamps created by my colleague Alison Lees. She made these following an educational publisher client's request for her to indicate that each proof page, and the maths therein, had been checked.
Thanks for sharing these with us, Alison!
If you have any questions about using stamps, or there's a particular stamp you'd like to add to your collection, feel free to ask me. I'll do my best to help.
FileZilla is free File Transfer Protocol (FTP) software. Some of my clients still prefer to use email to transfer files (which can be slow and expensive with large files if your provider limits your download allowance*). My preferred option is Dropbox or a simple file transfer tool like WeTransfer. However, different clients have different preferences, so I've been looking for an alternative. My colleague Miranda Bethell kindly passed on this tip about FileZilla.
The software is available for installation on Windows, Linux and Mac operating systems and apparently is easy to use, even for a novice. For a helpful review of the product, including key features, system requirements, and pros and cons, read Review: FileZilla FTP Client (Jack Wallen, TechRepublic, 2010).
*If your broadband provider limits your download allowance for the particular package you've signed up for, give them a call. I recently did this with BT only to find that an upgrade that included unlimited downloads was cheaper than the more restrictive package I'd signed up for 18 months earlier. It never hurts to ask!
A note from Louise: Do you issue a contract before you start an editorial project? I've tended not to. If you're like me, take a gander at the advice from my editorial colleague Cassie Armstrong. In this latest guest article, Cassie tells us why we might want to reconsider.
Working without a net
Most of you wouldn't think of beginning an editing project, or making a major purchase, without a contract in place. I was like that, too. I never began a new project without either a signed contract on file or an email where both parties made it clear what they would and would not do. But I didn't do that with a recent project. That mistake cost me time and money. Take a minute and learn from my mistake.
I answered a job post for a proofreader a few weeks ago. The project was interesting, so I sent an email to the person who posted it. We talked about what the work involved, why a proofreader was needed, and about my hourly fees. I was thrilled to be accepted because the project piqued my interest. I could relate. But in my haste to begin, I didn't take the time to discuss a contract with my client. I should have stopped right there and corrected this mistake.
Ask if there’s a budget
In the early talking stages, when you and your potential client are discussing the project, take the time to ask if there is a budget for the work. I usually always ask. If I like the project and want to be involved, I will often times accept it even if the potential client’s budget is lower than my hourly fee. That decision is up to you, but it’s one that you need to consider in the beginning talking stages for any project. Money isn’t the only reason to be involved.
In the recent project I suggested an hourly fee but didn't ask about a budget. For the next piece of work, I plan to avoid this mistake and ask the question. It would be in your best interest to ask the question, too. Remember to ask it during the project’s conversational phase, before you accept job.
Don’t do anything without a contract
I didn’t suggest or push for a contract because my client wanted the project completed in a week. I thought requesting a contract would slow down the process. This was my third mistake. Always take the time to draw up a contract. If you don’t want to be that formal, you can write the potential client a letter that explains what you will do and how you will do it. The letter and contract don’t have to be complicated and KOK Edit has some good examples that you can review and modify to suit your needs in her Copyeditors’ Knowledge Base (Contract between editor and book publisher; Contract between editor and client).
An email will also serve as a contract
If you don’t want to draw up a formal contract and take the time needed for both parties to sign it and return it, an email where you specify what you will do, how long the project will take, and the overall or hourly fee will also suffice as long as you have a statement of agreement from your client in a return email. This acceptance email will serve as the contract for the job.
Ask for a deposit
Just as a contract is important in any project, so is a deposit. Depending on the length of the project, you may want up to 50 per cent in advance and payment on billable hours every two weeks. The amount of deposit as well as the project’s billing cycle is as individual as the project and editor. These items should also be spelled out in the contract.
For some small projects, I have edited without a deposit. For me, it’s a gut reaction. Just as each contract is different, so is requiring a deposit. For short projects with rapid turnarounds, deposits may not work. Do what works for you and is best for your circumstances at the time. In all cases, make sure you have complete contact information and consider using PayPal.
Add a kill fee
No matter what kind of contract you write, either traditional, a letter or email, make sure the contract contains a kill fee. The kill fee will save you a lot of grief and will provide an out for both you and your client if things don’t progress the way you'd planned.
Just as a deposit helps protect you from doing a lot of work and then not getting paid for it, a kill fee, cancellation fee, or rejection fee serves a similar purpose. The kill fee ensures that you’re paid for all the work you’ve done up to the time the client notifies you that they are not going to work with you any longer, or when you decide to walk away from the project for one reason or another.
Both you and the client may decide to cancel the project for any number of reasons, including timing, money, or change of focus. You both may decide to cancel the job because you aren't happy with the initial work, may think that you aren't working well together, or may not want to continue for some other reason. Whatever the grounds, the kill fee helps cover your billable time and any tangible expenses (delivery fees, for example) incurred so far in the project.
Make sure you understand what the project entails
Through conversations and drafts, make sure that the project requirements are crystal clear for all parties involved. Spell out what you will do, how many passes you will make, and how the project will be returned. If any kind of formatting is involved, be sure you and your client agree on who will be responsible for the formatting. Make sure that you also discuss and establish how you will receive the project, if the certain sections of the project will be returned early, how many pages. Clarify also how the entire project will be delivered. Going over these requirements at the beginning will save both you and your client frustration later on down the line.
Don’t change the project’s format or delete extra spaces unless that has been discussed before beginning the project. Return the project in the same manner you received it, the same way you return a car you borrow with a full tank of gas. Failing to address these kinds of issues could upset your client and may cost you money and time in the long run.
Offer to fix any errors
If you make a mistake in a project because of a lack of communication or because the client is not happy with one aspect of your work, offer to fix the problem. Taking a few hours to make a client happy will be your best reward in the long run. It will make you feel good and there’s also the possibility of receiving future work from a satisfied customer.
Keep the lines of communication open
Communication in a project is key. You can communicate via email or via the telephone. Establish the best way to keep in touch before the project begins and discuss how many times a week you will be in contact. If the client prefers telephone conversations, exchange numbers. Ask when the best time to talk is and keep in mind any different time zones between you both. Keep all conversations brief and on point. Be courteous but businesslike.
Don’t allow yourself to be bullied
If you find yourself in the position where you’re doing more than the contract specified, take a minute and regroup. Go over the contract specifics. Make sure to review the specifics and discuss the new project requirements with your client. Explain that the new requirements will take more time and will cost more than the original fee. Offer to fulfil the new requirements for an additional fee and specify how this will be paid.
Keep all conversations light but remain in control. Don’t allow yourself to be pushed into doing something that you’re not comfortable with or making changes that weren’t discussed previously. If you have to make changes or correct an error, don’t allow the client to deduct the cost of these changes from the original project fee. Explain your position to your client and stand your ground.
Standing your ground is something that many of us aren't comfortable with. However, in business, and real life, it’s necessary if you don’t want to be bullied. If a situation like this occurs early on in the project, the kill fee you included in the contract, letter, or email will come in handy. Use it and walk away. Never put yourself in a situation where you are not in control or where you have second thoughts about a client or project. It isn't worth it.
Bottom line: a well-designed contract should avoid any potential problems in a project.
Before I begin another project, either with an individual or with a publisher, I plan to make sure that the job specifics are spelled out and crystal clear. I will also add a kill fee to the contract and if there’s an inkling that the project is not going well, I will walk away.
Copyright 2012 Cassie Armstrong
Cassie Armstrong is a professional editor and the founder of MorningStar Editing. She's a recovering college English teacher and member of the Editorial Freelancers Association with over six years' editing experience. Her clients are primarily individual authors and trade publishers who specialize in fiction and non-fiction subjects, from biographies to YA novels. Cassie enjoys working with yarn and thread in her spare time and is developing a complementary speciality in editing books about crafting.
Contact Cassie via her website MorningStar Editing, Twitter @MorningStarEdit, and LinkedIn.
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I am an Advanced Professional Member of the UK's national editorial society. Visit the SfEP website for more information.
All text on this blog, The Proofreader's Parlour, and on the other pages of this website (unless indicated otherwise) is in copyright © 2011–17 Louise Harnby. Please do not copy or reproduce any of the content, in whole or part, in any form, unless you ask first.