The Proofreader’s Parlour
A BLOG FOR EDITORS, PROOFREADERS AND WRITERS
Further to a request from a colleague, here are some new stamps: the em dash and the em dash with a replace slash.
If you’re proofreading onscreen, either with my proofreading stamps or your software’s comment and mark-up tools, it’s worth spending a few minutes to set up the various onscreen elements in an ergonomic fashion as well as familiarizing yourself with basic keyboard shortcuts.
There are aspects of onscreen work that are speedier – searching for and implementing global changes, for example – while moving between the various mark-up tools is not as quick as using a hand and pen. There are, however, things you can do to compensate and make your onscreen experience more effective.
1. Make the toolbar work for you
Shift the most-used elements on your toolbar so that they are near to each other and on the side of the screen with which you operate your mouse. These elements might include the typewriter, mark-up tools, text tools, and stamp and save buttons. Use your mouse to click, hold and drag the elements across the toolbar ribbon.
2. Use the stamps palette
Use stamps of proofreading symbols to complement the comment box and mark-up tools in your PDF editor. You can create your own or use the sets I’ve already developed. They’re available free of charge here. If you’re unfamiliar with these, see PDF Editing: Making the Most of the Stamps Tool.
Remember to keep your stamps palette open; it will save you time when selecting each stamp you want to use.
In XChange you can minimize the size of the symbols as they appear in the palette (see the highlight in the screenshot to the left). This enables you to see a greater number of stamps while you are working without having to scroll up and down the palette. In Acrobat, the palette is not as user-friendly, so use a second screen to get the best of the display.
In XChange, number similar stamps sequentially so that they appear in a logical order. This will make it easier to find the stamp you need, particularly if each palette contains a lot of symbols (If you’ve downloaded my XChange stamps simply change the number-name in order to re-sequence them).
It's useful to keep your palettes of different-coloured stamps separate so that the palettes don't become overly cluttered. Again, this will enable you to locate the stamp you need more efficiently.
3. Hook up a second screen
I generally use a laptop, but I hook up my old desktop screen to enable me to use two screens at once when I’m doing onscreen work. This works well on three counts:
4. Utilize basic keyboard shortcuts
These are my preferred keyboard shortcuts when working with PDFs. There are many, many more but I like these because all but one can be managed easily with one hand.
Alt Tab: this is one of my most-used keyboard short cuts and is especially useful if you only have one screen to work on and need to flit between different programs or files.
Ctrl S: save
Ctrl C: copy
Ctrl X: cut
Ctrl V: paste
Ctrl Z: undo
Ctrl A: select all
Ctrl Shift F: opens search window
5. Bookmark key pages
If you refer back to the same key pages time and again and your client hasn’t already bookmarked these (contents, part titles, chapter first page, bibliography, index etc.), it’s easy to do it yourself and will save you time. Use Ctrl B to open the bookmark function in Acrobat Standard, PDF-XChange or PDF-XChange Viewer and name your page. (You can’t bookmark page in Reader, alas.)
6. Use a snipping tool to make your own "quickie" stamps
If you are constantly using a particular combination of mark-up symbols in a piece of work (e.g. you have to change A to Å many times), you can make your own “quickie” stamp using a snipping tool. Windows 7 supplies this, but if your operating system doesn’t there are plenty of free alternatives online. Pin it to the task bar at the bottom of your screen to access it quickly.
In the case given above, you would use the typewriter to print Å on your PDF, followed by the replace-slash stamp. Use your snipping tool to draw round both marks and save. Then import your new stamp into your palette. Now you only have to make one click, not two, in order to make the margin mark.
To access the stamps files, see the article Free Downloadable Proofreading Stamps. For a more detailed look at using stamps for onscreen work, go to PDF Editing: Making the Most of the Stamps Tool. For installation instructions, click here.
Anything to share?
Do you have any tips to share for more efficient onscreen work, such as favourite keyboard shortcuts or using function keys? Please share them with us in the Comments section below so that we can all improve our onscreen working experience.
There are many reasons to use Dropbox, but my favourite is as a backup tool. Anything in your secure online Dropbox account is available to you wherever you are and on whichever terminal you're using.
I've blogged in the past about the importance of getting into the habit of saving and backing up your onscreen work frequently. When marking up onscreen I save every change I make. If I leave my desk I back up the file onto a memory stick. And I make a further full system backup once a month onto a separate hard drive. Overly cautious? Me? Perhaps, but I learned the hard way.
These days I keep any file I'm actively working on in Dropbox, so that the recently saved version is always safe and available to me, even if my computer turns to dust. You get 2GB free which is more than enough for most, and it works for Windows and Mac users.
To sign up for Dropbox, click here.
This Roundup features links related to the financial side of editorial freelancing – what you can earn, what you can save, costs that need to be offset, advertising your rates, considering what and how to charge, and how to handle late payment.
The Weekly Review offers links to useful editing, proofreading, freelancing and publishing news articles published online in the past seven days.
The highly regarded UK-based Publishing Training Centre has a new online forum. The forum is open to anyone, anywhere, whether you’re working or training in publishing, or just thinking about entering the industry. Discussion topics are grouped into:
Huge thanks to my colleague Anna Sharman for alerting me to the fact that installation into Viewer of my three sets of 70+ proofreading/editing stamps can be managed semi-automatically. After downloading the new files I've uploaded (see link below) and saving them to the correct location on your pc, they will appear immediately in your stamps palette.
For those of you who currently use Acrobat, I would strongly suggest you try PDF-XChange Viewer – it’s free and the stamps palette is far more user-friendly.
If you’ve already downloaded my stamps, then my apologies that I didn’t come across this information until now – I know how laborious it is to download the stamps one by one. There are still benefits, though – now you can transfer your whole stamps palette to a second pc. And should you buy a new computer you won't have to endure the arduous task of downloading the stamps one by one all over again.
The Weekly Review offers links to useful editing, proofreading and publishing news articles published online in the past seven days.
Grammar guru Mignon Fogarty hosts the excellent Grammar Girl website and founded Quick and Dirty Tips. Says Fogarty on her website, "Grammar Girl provides short, friendly tips to improve writing. Covering the grammar rules and word choice guidelines that can confound even the best writers, Grammar Girl makes complex grammar questions simple with memory tricks to help you recall and apply those troublesome grammar rules."
One of my regular publishing clients, X, recently gave me some constructive feedback on a proofreading job I’d done for them. The review was a positive one overall, but it did highlight the fact that I’d slipped into the habit of marking up in a way that was not the most efficient use of my time or the client's.
Client X puts great emphasis on the value of feeding back information to their editorial freelancers, which helps us to improve the job we do for them. Interestingly, however, they are the only one of my clients who works in such a constructive way. This made me realize that I should be more proactive about seeking feedback from other in-house production staff, because I benefit as much as they do. Here are a few points to consider.
Ask for feedback
If your clients don’t make a habit of feeding back information on how a job went, take the lead and ask them to. On the one hand, they may tell you they don’t have any problems with the way you work; on the other, they may use it as an opportunity to suggest how you could improve your service for them. Either way, it’s a win–win for both of you.
Avoiding the habit trap
Feedback can highlight bad habits that you’ve slipped into without even realizing it. Some years ago two clients asked me to mark up in a certain way in order to prevent their overseas typesetters becoming confused. I work for these publishers regularly and in a bid to be “kind” to all typesetters I’d extended this habit to the way I work more generally. However, Client X asked me to rethink this style in order to save myself time and reduce the number of margin marks I was making. Of course, I agreed – the customer is always king. More importantly, though, I’d fallen into the habit trap – I’d got so used to working in a particular way that I’d extended two clients’ requirements to all my clients, and in doing so was wasting both time and ink.
Continued professional development (CPD)
If you think you may have fallen into the habit trap, consider doing a refresher course. If you’ve been doing the job for a while, it’s easy to fall into particular ways of doing things. Conventions change and client requirements differ. Reacting to this is part of every freelance proofreader’s CPD. Responding directly to client feedback is critical but additional refresher training may be just the ticket to consolidate what you’ve learned from them.
Even negative feedback is positive
Even if your client has some criticisms of the way you’ve handled a job, see these in a positive light. When you find out what you’re doing wrong, you can ensure it doesn’t happen again.
Getting repeat work
If you make a complete pig’s ear of a job then a client won’t commission you again. But if the feedback concerns less serious issues that can be rectified (e.g. your mark-up is not as efficient as it could be; you’ve misunderstood minor style points that need to be adhered to more strictly; you’ve been over-zealous with mark-up), chances are that as long as you listen to the feedback, and implement the necessary changes, you’ll hear from them again. In other words, constructively critical feedback can improve the relationship as long as you carry out your part of the bargain and do what you’ve been asked.
Responding to feedback
Make sure your clients know you’ve taken their feedback on board. If they’ve gone to the trouble to help you improve your service, the least you can do is thank them. Your thank-you is an acknowledgement that you understand what they want and are prepared to implement their feedback in future jobs.
For the freelance proofreader, the client always knows best – don’t argue with them about their requirements. By all means clearly explain why you made the particular choices being discussed, then acknowledge their preferences and assure them you’ll follow through. No client wants to deal with a snarky proofreader and there are plenty more to choose from if you don’t come up to scratch.
A discussion on the Gpuss proofreading forum about earnings prompted me to consider the financial considerations of freelancing a little further. In my previous post Proofreading – Does it Pay? I looked at the rates a UK proofreader might realistically expect to earn and I offered some thoughts on working for what might be perceived by some to be “low” rates in order to get experience and build a client portfolio.
Since I wrote that article, Erin Brenner, on Copyediting.com, has posted a very informative piece about rates for the job that US editorial freelancers will find valuable: Tip of the Week: What a Copyeditor Earns.
In this post I’ll focus on some of the hidden savings and costs that are worth taking in to account when thinking about whether a freelance business is financially sustainable; I’ll also address the issue of emotional earnings – the so-called cultural capital (sometimes called human capital) that can be generated from editorial freelancing.
The obvious place to start when considering whether to embark on a freelance editorial career is what you can earn in term in terms of currency per hour. This will depend on where you live, the types of client you’re targeting, the subjects in which you specialize and the level of expertise required. This is discussed in more detail in Proofreading – Does it Pay? The economic climate will also affect the amount of work going around, just as it does in any industry, anywhere in the world. Editorial freelancing, however, has important hidden savings attached to it that should be taken into account when comparing it with office-based work.
Commuting: For those working and living in central London the annual tube travel card would cost between £1168 and £3040. I live in rural Norfolk. Busses run twice a day (not always at work-friendly times) and take an age to get anywhere. Furthermore, I don’t live in walking distance of a train station. If I worked for an employer in the city, I’d have to commute by car, roughly a twenty-mile round trip, five days a week. We already own a car so I can’t slam the whole cost on an office job, but the additional wear and tear, parking fees and horrendous UK petrol costs would be considerable. I, however, am a freelance proofreader. My trip down the stairs every day is free. I estimate I save around £1500 a year by working from home. When you work out what your freelance proofreading business pays, you should take the avoided commuting costs into account.
Childcare: I have a child so if I was office-based I'd have to pay for childcare during the holidays. Good quality childcare doesn't come cheap - nor should it - so that's another saving. If you have a supportive family network local to you, parents or grandparents, perhaps, who are prepared to look after your kids for free, lucky you! For many of us, however, this is not an option.
Work clothes: This may sound trivial but in some workplaces there's a certain dress code to which you will be expected to adhere. Two or three good suits and matching shoes don’t come cheap. This editorial freelancer, on the other hand, once proofread for four hours in her pyjamas. It’s not something I like to brag about, but I don’t spend a bean on work clothes even when, as usually happens, I do get dressed.
Food: I’m not sure where my US, Canadian, South African, Indian or Australian colleagues bought their lunch before they were freelance, but here in the UK, a lot of us spend huge amounts of money popping out from the office down to the company canteen, or nipping out to Pret a Manger or Marks & Spencer for a freshly made sandwich and a piece of fruit – and at a cost that makes me blush now that I’m digging around in my freelancing fridge every day.
When working out the financial merits of freelancing, it's about not just what you earn but also what you don't spend.
It would be ingenuous not to address some of the hidden costs, too. These need to be offset against the hidden savings and any cultural capital earned.
Health insurance: In the UK we have a wonderful, if struggling, National Health Service that’s free at the point of delivery. Every worker pays national insurance contributions to fund this. If you live outside of the UK, working in an office may give you health insurance entitlements that you would have to pay for yourself when freelancing.
Pension provision: If you’re an employee, your company may have a contributory pension scheme that tops up what you put in. These vary in their generosity, but need to be considered.
Sick pay: There’s no such thing as sick pay in the world of the freelancer. If you don’t work, do you don’t earn – simple as that.
Maternity/paternity benefits: Again, there’s no external financial provision for this when you work for yourself. If you have a child and decide to take time out from doing paid work, that time represents income lost.
Indemnity insurance: Some editorial freelancers take out professional indemnity insurance in order to cover themselves in the event that legal proceedings are taken against them. To my knowledge, this is more of a concern for editors than proofreaders and is more prevalent in the scientific, technical and medical fields.
Earning cultural capital
If the term cultural capital (or human capital) sounds like sociological buzz talk, I won’t apologize, because the concept is something I believe in. Cultural capital refers to the skills, training, education, information, knowledge and benefits that a person gains in order to better themselves, There are many ways of earning cultural capital – just a few include enrolling in college, having kids, volunteering, going to work, training, networking, and socializing. Another way is to be a business owner, even if you’re the only employee.
Investing in yourself: When you decide to move from office-based work to building your own editorial freelance business, a hugely important cultural shift occurs. Every step you take on the journey will be an investment in yourself. Every piece of training or work that you do will be for you and your business. Every stamp you lick, every letter you post, every email you send to a prospective client will be for you. Every new client you acquire (and every rejection you receive) will be another step on your freelance journey, not an employer’s. At each step, you’ll be earning cultural capital.
Tens of thousands of UK companies have signed up to work with Investors in People. Launched over 20 years ago, Investors in People "is the UK's leading people management standard. It’s a business improvement tool designed to help all kinds of organizations develop performance through their people” (http://www.investorsinpeople.co.uk). When you decide to set up your own freelance editorial business you’ve become an investor in people without even trying – you’ve invested in you. And in doing so, you’ve earned more cultural capital.
The way you talk about yourself: Office-based “part-timers” (I've been one) typically put in more hours than they're paid for in order to be seen to “keep up”. They don't always get the same breaks as full-time colleagues or have the same degree of influence within a department because they're not always on site. Freelancing offers another cultural shift on this front: I don't talk about myself a part-timer; rather, I'm a freelancer. I'm not an employee; I'm self-employed. I'm not even just a proofreader – I'm also the owner of a business, the chief accountant, the marketing director, training developer, web manager, coffee maker, and the errand runner. That’s a lot of cultural capital, and I'm really proud of that.
Measuring your cultural capital: Measuring cultural capital in strictly financial terms is impossible. However, I think the things I’ve learned (through self-teaching and training courses), the people I’ve met, the planning I’ve done, the work I’ve completed, the flexibility I’ve embedded in my business model, and the obstacles I’ve overcome have given me new skills and confidence. I hope to pass on this emotional capital base to my daughter when she’s ready. And if my business went belly-up in the next twelve months I believe I’d be better placed to pick myself up and re-enter the market because of the cultural capital I’ve earned on my freelance journey.
Freelance colleagues, what do you think? Is it all about the dollars and cents or does emotional capital count, too?
If you have a Twitter account, you may want to consider custom designing your background image. The available space on the current Twitter layout is a useful tool with which to consolidate your editorial business brand. Using it won’t cost you a bean, making it a free marketing opportunity. Don’t waste it!
There’s a gap to the left-hand side of the Twitter stream that is often left unused. Why not take advantage of this available space to create an image that promotes the key features of your business? You could include jackets of some of the projects you’ve worked on, and the urls to your Facebook business page and LinkedIn profile. Or you could feature societies of which you are a member, your business logo, information about your blog or website, or key aspects of your editorial business (such as the services you offer and the subjects in which you specialize) – it’s up to you how you decide to promote yourself.
I’ve chosen to use the left-hand space on my Twitter page to:
● restate my website name and address
● summarize my services;
● direct viewers to my Facebook business page;
● publicize my blog; and
● feature jackets of proofreading projects I’ve completed.
And take a look at the Twitter pages of some of our freelance editorial colleagues to see how they are using the background image space to enhance their brand: @KOKEdit ● @thewholeproof ● @ebrenner ● @Copyediting.
Tips for designing your image
Twitter limits the file size to 800k but it’s worth trying to keep your files much smaller than this so that your profile page doesn’t take too long to load. I saved my custom image as a portable network graphics (png) file, which minimized file size without degrading the quality. My image is 173k and many web designers recommend aiming for no more than 200–300k.
The size and resolution of the monitor your viewer is using will determine how much of your image is on view. Smaller screens with lower resolutions force the centred Twitter stream to take up more space, which reduces the size of the left-hand gap. Therefore, if you make the displayed material too wide, key information will be obscured by the Twitter stream. I have a 17 inch monitor and a resolution of 1600 x 900 pixels. However, 80% of people who visit my website have a screen resolution of 1280 x 800 pixels and higher so I elected to design the background image with this in mind – the total size of my background image is 1105 x 714 pixels, but the displayed information only uses up 176 x 695 pixels. Note that you won’t be able to get the aesthetically perfect result for every viewer but it’s worth altering your own screen resolution temporarily, and playing around with your image design, to ensure you are offering the best view to the maximum number of users.
Feel free to use the template below if you need assistance with measuring your image. This is based on the background image on my own Twitter page so it should offer a work-around for the most-used screen resolutions.
How to upload your custom background image
Log in to your Twitter account. Select Edit Your Profile, Design, and then, under the Customize Your Own section, click Choose File followed by Save Changes.
How to create a custom url for your Facebook business page
If you want to promote your Facebook business page on your Twitter background, it’s advisable to set up a more user-friendly custom url. I changed mine from "facebook.com/pages/Louise-Harnby-Proofreader/328476347180231?sk=wall" to "facebook.com/LouiseHarnbyProofreader" – a significant improvement!
It’s very easy to do but think carefully about what you want your url to be before you confirm the new user name – you can’t go back and change it later. Click here for Facebook’s simple instructions. You can simplify your Facebook urls for both business/fan and profile pages.
In this Spotlight I’m delighted to feature an interview with my colleague Charlie Hankers. Charlie is a Manchester-based copywriter, editor and proofreader. He also owns and administers the online forum Gpuss Proofreading, Editing and Copywriting Chat. It’s one of a number of professional forums on which I interact with other people in our business, newbies and seasoned professionals alike, and I’ve been impressed with how it functions. Charlie agreed to talk to me about how it all started.
Louise Harnby: First of all, Charlie, thank you for taking the time to talk to us here at The Proofreader’s Parlour. Can you start off by telling us about your background? I see you have a few strings to your bow.
Charlie Hankers: Yes, although many of them snapped long ago. I left school and worked in the chemical industry, then studied civil engineering to degree level, played in a hugely successful band (using a criminally narrow interpretation of “successful”) and spent a few years in photographic darkrooms until I finally settled on proofreading in the mid-90s. Once established I started editing and copywriting, which is where I am now.
LH: So how and when did the Gpuss forum come about? Surely it’s no small task setting up, never mind maintaining such a platform. In particular, I’m interested in what motivated you to develop it, and what you envisaged coming out of it.
CH: It is an adjunct to the course, really. I decided to write my own course after I had been proofreading for about eight years. I felt that the course I had done (one of those you see advertised in newspapers) hadn’t prepared me for the trade, although of course I didn’t find out until I started getting work. Luckily my first client was a patient and understanding typesetter, who guided me through the technical side of proofreading. It isn’t just a case of checking spelling mistakes and grammatical errors, as many people assume. Proofreading professionally produced books requires you to get into the mind of a typesetter as well as the author. So once I had created the course, I added the forum to create a sense of community, help anyone who was doing the course or actively proofreading, and hopefully get a range of opinions on contentious matters.
One thing I want from the forum, but find difficult to address, is its impartiality. It is clearly linked to my course (it shares a domain) but I don’t want it to become a marketing tool for the course or for me as a proofreader and editor. I welcome open discussion about other courses, as long as contributions are honest, and try not to talk about my own too much. I also encourage contributors to link to their own websites and hope they get some benefit from it. I think it’s important to recognise that mine is not the only course and that there are other excellent learning resources out there. I’m not trying to be a cult leader!
LH: I get the sense that the people on the forum are a mixed bag of both new entrants to the field and those who’ve been around the block. Can you tell us about the forum’s users, the kinds of discussion that arise, and how you go about moderating it all?
CH: Yes, that’s exactly right, and that blend of wisdom and inexperience is probably an essential element of a thriving forum. I’ve been lucky enough to welcome lots of lovely people on board, and discussion is always polite, even when disagreeing. The important thing is not to judge newbies and to remember that we were all in their situation once. I wish I had had a forum to visit when I was learning, but I didn’t even have the internet.
Another important thing to remember is that somebody who is inexperienced at proofreading might have come from a very different trade and can bring knowledge with them that’s useful to proofreaders, for example law, taxation or business. Even simply being young is an asset (in case we need reminding) as it brings a different outlook on life, a connection with a generation that we might not encounter much. It’s all refreshing and vital.
I’ve divided the forum into two halves: the Englishy, grammary, spellingy half and the businessy half. So the first half is for discussion and advice on actual words and phrases, whereas the second is for people to talk about working – mainly, I guess, as a freelance (but not necessarily so).
I don’t ever want moderation to cross the line into censorship, so I’ll cull anything that is illegal or needlessly inflammatory (i.e. talk of banning apostrophes) but otherwise let the discussions flow. When you run a forum you have to be aware that you can be held at least partly accountable for what is on it, so you do have to keep an eye on it from a legal perspective.
LH: What are the highs and lows of running the Gpuss forum? I can imagine that it’s a demanding task at times, so tell us about the joys and the challenges.
CH: I don’t find it demanding, really. The hardest part is when work or other domestic business gets in the way. I do try to check it a few times a day (the email alerts don’t always reach me) but sometimes it’s impossible. However my heart is regularly warmed by logging in and finding a query raised and answered within an hour. That’s the essence of a forum. And the last thing I’d want is for anyone to rely on just my moth-eaten advice!
Spam is the bane of any forum owner’s life. Whereas in the past people would simply post links to their websites on as many forums as possible, they have got a little bit smarter nowadays, making intelligible and plausible comments but having the backlink in their profile, or spending a few days posting a smattering of very realistic comments before landing the link when the owner’s guard is down. It’s harder to keep on top of these.
The trickiest part is finding the balance between creating a place where a community develops for the mutual benefit of all and the forum becoming a kind of helpline. There have been one or two members who only ever logged in to ask for advice, sometimes very specific advice on a particular point they have come across in their work, only to disappear until they encounter another problem. I can’t be too critical of this way of using the forum, but it’s counterproductive because, after a while, contributors just stop answering. We can’t force people to help answer people’s queries, but in the long term you’ll get more out of it if you help out a little. By the way, I am absolutely not referring to people doing the course or anyone learning to proofread here. If people are asking questions about my course then that’s a result of my own failure. And anyone learning gets help out of simple human respect.
LH: Any future plans that you’d like to share with us?
CH: As far as the course is concerned, I’m trying to keep it relevant and running for as long as possible. I have no plans to close it down as there is still demand for it. The same applies to the forum. It is as strong as ever, and still attracts new members and returning ones, so I’m happy about that. I’ll probably see if I can get some help with moderating if there are any volunteers, too. I’m planning to start a business partnership with a friend and colleague, but we’re waiting for our work to have coincident lulls!
LH: What other online networks are you involved with and how do you use them?
CH: I’m a bit of a Twitter addict, so I’m always on there, occasionally wasting time following links and getting waylaid by some incredible site or news story. I don’t really tweet about my work; I tend to make random observations to anyone who’ll listen, and probably would even if no one was listening ... My addiction is helped by my being a Facebook refusenik. I am on LinkedIn too, although I don’t feel like I’m getting the most out of it.
LH: Thanks for talking to us, Charlie – it’s been an eye-opener and a pleasure.
● Contact Charlie Hankers for copywriting and editorial work: firstname.lastname@example.org
● Join the Gpuss Proofreading, Editing and Copywriting Chat forum
● Get more information about the Gpuss proofreading course
Macros for Writers and Editors, by technical author, publisher, proofreader and editor Paul Beverley, is a free online book with over 400 macros for the writer, editor and proofreader.
One of my personal favourites is CiteCheck, which is excellent if you want to check text citations against a bibliography, particularly when the short-title system is being used. Other popular macros developed by Paul include the well-loved FRedit, a customizable scripted find-and-replace macro, and IStoIZ and IZtoIS (both of which highlight all the words in a file that may need amending to fit client style).
However, this blog post doesn't even begin to scratch the surface. Instead, take a look at the book yourself and decide what will work best for you. There really is something for everyone.
The Editors' Association of Canada/Association canadienne des réviseurs (EAC) has 1,600 members across the country and six regional chapters. Key features of membership include:
• Training: training and certification courses, lectures and workshops
• Meetings: annual national conference and regular branch and twig meetings
• Freelance directory: searchable by keyword
• Discussion forums: EAC-ACR-L (English and French) and ACRLISTE-L (French) are
• email-based; Interactive Voice provides a threaded web-based forum
• Jobs board
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