FOR EDITORS, PROOFREADERS AND WRITERS

If you’re building your editorial business, you can’t afford to sit back and hope the work will come to you – too many colleagues will be taking a more proactive approach.

For this article, I thought it would be fun to pretend to be someone else – someone with a different educational background and career history.

​I’m going to pretend that I’m new to the field but that I have completed some sort of recognized training in proofreading/editing and have joined my national editorial society. My technical skills are there but I’ve got to work out how to get myself noticed, and how to make myself stand out.

​So who am I today? My name’s Basil Rhoueny [it’s the best anagram I could come up with – alternatives on a postcard].
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• I used to be manager for a large financial services company.
• I have a partner, a child, a guinea pig, and a mortgage. I love the first and the second, I tolerate the third, and frankly I’d like to be shot of the fourth (though I’m a realist, too). I’ve moved all around the country with my job but currently I reside in Ely.
• I’m a good runner. I love to run. I came eighth out of 450 other guys in my age group in the Cambridge half-marathon last year and have had an article published about the experience in Runner’s World UK magazine.
• I have a blog about running called JogMeBlogMe.
• After two decades in business, I was made redundant 14 months ago.
• Following some considerable discussion with my partner, I decided to retrain and set up a home-based editorial business. My partner works 9–6, so I’ll fit the childcare around my freelance work.

So how am I going to create awareness of my new business? I know it’s not going to happen overnight, but I have a plan! That plan starts with providing clarity for myself about who I am and what I have to offer.

At first glance, this is me:

My name is Basil Rhoueny, and I’m a fully trained copyeditor and a Professional Member of the Chartered Institute of Editing and Proofreading (CIEP).

I write, I blog, I run, I (used to) manage staff, and I scamper around the garden with my kid (and the guinea pig when it escapes). I’ve retrained as a copyeditor, but which element of my experience will help me develop the best editorial business brand? All of them?

​Perhaps later on down the line I can expand my portfolio but right now I need a focus, something that I can really get my teeth into so that I can target my services.

As I said, I have 20 years’ experience of working for a large financial services organization.
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I understand the language of business: money, insurance, capital, funds, investments, portfolios, stocks, shares, corporate culture, management, organizational behaviour.

Those terms trip off my tongue without a second thought. I can edit this stuff with my metaphorical eyes shut.

So that’s how I’m going to sell myself. I want a tight message that I can sell to people and I don’t want to confuse potential clients as to what my niche is. I’m not going to talk about running, or writing, or blogging. Not yet, anyway.

​So, now, this is who I am:

My name is Basil Rhoueny, and I’m a fully trained copyeditor specializing in business, finance and related disciplines.

​I have 20 years’ experience in the finance industry, and I am a Professional Member of the Chartered Institute of Editing and Proofreading (CIEP).  ​

Now that I’ve sorted out who I am, I need to think about who my potential clients are.
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• There are publishers galore whose lists include titles in the fields of management and organization studies, marketing, training, business, accountancy, finance, and corporate governance.
• There are students writing Master’s dissertations and PhD theses in the same areas.
• There are companies (like the one I used to work for) who produce business reports and marketing materials.
• There are professional societies who publish journals and magazines in these areas.
• There are academic researchers and business professionals looking for people to polish their work before they submit articles to these publications.

​Now, things are looking like this:

​My name is Basil Rhoueny, and I’m a fully trained copy-editor specializing in business, finance and related disciplines.

I have 20 years’ experience in the finance industry, and I am a Professional Member of the Chartered Institute of Editing and Proofreading (CIEP).

​I offer copyediting and proofreading services for publishers, professional societies, companies, independent business professionals, academic researchers and students.

I now need to think about widening my net to make my niche as comprehensive as possible.

A quick browse through the management sections on only two large publisher websites tells me a great deal about the sub-disciplines that are being written about.

The world of business and finance has a lot of options that I can focus on – key words that will demonstrate my wide-ranging specialist knowledge.

​Now, this is who I am:

​My name is Basil Rhoueny, and I’m a fully trained copy-editor specializing in business, finance and related disciplines.

I have 20 years’ experience in the finance industry, and I am a Professional Member of the Chartered Institute of Editing and Proofreading (CIEP).

​I offer copyediting and proofreading services for publishers, professional societies, companies, independent business professionals, academic researchers and students.

Specialist subject areas:

Next, I need to decide where I’m going to put this information.
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• I’m going to place this information in the key proofreading and editing directory listings, on the new website that I’ve built, in my résumé, and on my LinkedIn profile. And I’ll place summarized versions on my Twitter and Facebook accounts.
• I’m going to contact every single publisher and related professional society in the country whose book/journal lists include my specialist areas, either via email or by letter.
• I’m going to investigate strategies for building relationships with corporations and independent business professionals.
• I’m going to think about how I might work with and target students in management/business/finance university departments.

I need to think about networking, too. Fellow freelancers who have established businesses may be able to refer work to me once they get to know me.

I’ve decided to join the local chapter of my editorial society so that I can meet some of my colleagues face to face. I also aim to build up a network of freelance colleagues on Twitter and Facebook.

​I might pick up some good business-building tips as well as make some online friends who’ve taken the journey that I’m now on. But I’m going to take it further than this …

I’m going to take a look at what’s being tweeted about in the business world, both from an academic and a trade angle.

One of my goals is to build a Twitter network that stretches beyond the freelance world and into the world of my clients. If I want to get followers who are potential clients, I need to give as much as I take. I need to tweet about news, tools and resources that will make me interesting to these business people.

Since I’m branding myself as an editorial specialist in the fields of business and finance, I’m putting JogMeBlogMe to one side and attaching a new blog to my editing website. I might call it BazBizBlog (then again, maybe not!).

​Regardless of the name I choose, it will be solution-based and feature links, news, articles, resources, tips and tools related to business – about business people, and for business people.

• Some of the features/links will cover editing and proofreading, but from the point of view of a client (tips for report writing, good-grammar guides, working with a freelancer, etc.)
• Others will focus on business tools and tips based on my previous career knowledge (financial planning, good management practice, staff motivation, time management tips, latest research, etc.)
• Still others might explore useful tools and apps for on-the-go business professionals.

The point is to make the content interesting to the kinds of people who might also use my services. And it will drive up my Google rankings because the freshness of the content will generate juice for my site as well as answering questions that people search for answers to in the search engines.

I have a lot of work to do, but I’m focused and I know what I need to do. The results of my labour may take months to bear fruit, but I’m investing in the future success of my business so I believe the hard work is worth it.

Now I’m off for a run. Did I mention that I’m good at running?

You don’t have to be Basil to try out the strategy above. You can take the same principles and apply them to your own background with a little bit of tweaking.

Maybe you’re an ex lawyer, teacher, accountant, sales manager, soldier, nurse, or social worker. Perhaps you have a degree in politics, biomedical science, or psychology.

The point is to focus on your specialist area and then mine the field to see what the associated areas and sub-disciplines are.

Your profile, and the content you create that's associated with it, will provide relevant key words that will help you get found when potential clients are searching for editorial freelancers with specific skills.

It’s not the only strategy by any means – it’s simply one for you to consider if you’re starting out.

I’ll not claim the ideas above are mine alone – they’re more a culmination of time spent watching, listening and talking to my successful colleagues about how they network and market themselves to fellow editorial freelancers and potential clients by making the most of their specialist skills.

​They are editorial professionals now, but they came from a variety of career backgrounds: science, law, academia, education, management, publishing, journalism, and much more besides. I’d name each and every one of them if I had the space, but there are far too many. I thank them, anyway, for their wisdom and their knowledge sharing.

• Booklet: Beyond editing qualifications: Gaining author trust
• Blog: Branding for editors and proofreaders – beyond me-me-me
• Course: Editor Website Essentials
• Book: Marketing Your Editing and Proofreading Business
• Guides: ​Business growth guides for editors and proofreaders
• Courses: Business growth training courses

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors

Experimenting with new editing and proofreading markets is not just about bringing in the money; it’s also about opening yourself up to new opportunities and experiences.

I’m a firm believer in not putting my eggs in one basket.

I’m also a creature of habit.

There was a time when most the prospective clients who contacted me were similar to my onboarded clients: academic publishers. I knew this market well – I understood its language; I was familiar with its processes; and the expectations of what the work involved were understood by me and the presses for whom I worked.

Taking on work in areas that were unfamiliar felt somewhat daunting. Questions that plagued me included:

• How much should I charge?
• What’s the going rate?
• How long will the work take?
• Will these clients use terms such as 'proofreading' or 'editing' in the way I use them?
• Will I be comfortable doing the work? 

And for a long time if felt easier to stay in my comfort zone, especially since I enjoyed the work.

But every now and then it doesn’t hurt to take a punt. After all, the best-case scenario is that you find a new niche – another string to your editorial bow – while the worst-case scenario is simply that it doesn’t work out. And, really, what's wrong with that?

The great thing about being a freelance business owner is that you can always close the relationship if things don’t work out as planned.

And even if your hoped-for long-term business relationship ends up being rather shorter than expected, you can still notch up the completed work to experience and use the knowledge you’ve gained to inform your future choices.

​So if the work doesn't suit you, no problem. At least now you know.

Perhaps you find it easy to estimate how much time work from your existing client base will take because it’s a market with which you're familiar. Quoting for work outside the field is far harder for all of us.

So, what if we make a mistake and seriously under-quote?

One way to avoid this is to offer a trial rate that you’ll honour for the first few projects, but suggest the possibility of reviewing the fee structure a little further down the road once you’ve completed one or two pieces of work.

If you haven’t gone for the trial option, and find that the work is taking much longer than expected (causing your hourly rate to plummet), don’t beat yourself up about it. Contact the client and explain the situation, stating that, of course, you’ll honour the original quote for the initial pieces of work supplied but that if the relationship is to continue you’ll need to review the price with them.

In this situation it may be that the client decides they can’t afford your proposed new rate. That’s fair enough – at least the discussion is open and honest.

Make sure you:
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• give a careful breakdown of the work you’ve done
• state how long it’s taken
• give  the reasons why you believe you initially underestimated
• explain why, in order to do the best job for them, you want to review matters,

That way, your client will appreciate your professionalism and see that you’re not trying to rip them off. And even if things don't work out on the price front, you'll be able to close the door to each other on good terms.

Of course, there's always the negotiated compromise. You can ask them to make their best offer and decide whether you can live with it. The experience you’re acquiring and your enjoyment of the projects might mean that you’re prepared to take a bit of a hit (though not one that makes you feel as if you are being exploited).

Compromise isn’t for everyone, but it is an option.

So you thought you were proofreading but actually you’re editing.

Or you thought you were editing but actually you’re writing.

Or perhaps you were expecting monthly projects of a couple of thousand words and you’ve ended up with a tome on your desk (or in your inbox).

​Ask yourself the following: 

1. Do you want to do the work as it now stands?
2. Are you fit for purpose? Can you actually do what the client needs and by when they need it, regardless of your initial expectations?
3. Is the agreed rate in line with what you feel is fair for the job you’re doing and the time it’s taking?

If the answer to (1) is no, then inform your client as soon as possible that the job’s not for you. That way they can find a replacement.

If you’re okay with the work but the answer to (2) is negative, then you need to take the same action – tell the client that you’re sincerely sorry but you don’t feel the job is within your skill set; or, if it is but the deadlines are unmanageable, give them the heads-up immediately. In the latter case you may be able to set up new arrangements whereby the time frames are workable.

If you still want the work and you’re fit for purpose, but you’re unhappy with the rate (3), it’s time to have the open and honest conversation outlined in section B, above.

Many an editorial freelancer has been surprised at how receptive clients can be to procedural or rate reviews as long as the conversation is timely, polite and expressed in a way that acknowledges their needs. If your work is of high quality, your client may just bend over backwards to make the relationship work.

Back in 2014, one of my social science publisher clients referred me to her production manager friend who worked for a trade publisher. It's how I got offered my first ever fiction proofreading gig. I asked myself all those questions about capability, price and time. 

Self-doubt tapped me on the shoulder. Impostor syndrome whispered in my ear. I took the job anyway because it was an amazing opportunity. I decided I didn't care if the fee ended up being rubbish ... the book I was being offered by a big-name author would look so good in my portfolio that I couldn't pass up the chance.

In other words, I took a punt. And that punt led to more fiction proofreading work from publishers. And that led to more fiction editing work with indie authors. And that led to me editing only fiction. Until that led me to specializing in only one particular genre of fiction. 

Now that's all I do – stylistic line editing for indie authors writing crime fiction, mysteries and thrillers. A punt evolved into a purpose. A chance evolved into a choice. I don't just line edit this genre; I teach others how to, with my books and courses. And that chance diversification has become a niche specialism that's at the heart of my brand identity. 

Taking a punt brings up all sorts of unexpected pleasures, but sometimes a little pain, too. Good communication framed by honesty and immediacy will make the journey less bumpy.

​Whatever happens, as an editorial colleague once told me, 'There’s no point in getting one’s knickers in a knot over it. You win some and you lose some in this gig!'

If you love what you're doing, great. But if something comes your way that feels like it might be interesting but you're holding back because it feels risky, consider whether it's worth a punt. You never know where it might take you.​

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors

Jump-to coding is handy for when you have a webpage with a lot of information on it and you want your readers to be able to jump to key headings with ease.

Jump-to code is really easy to incorporate even if you’ve no experience of coding.

Most of the popular DIY website builders such as WordPress and Weebly include html boxes that you can write your code in.

Simplified example 
You have three headed areas on a page you want your readers to be able to jump to: Training, Qualifications, and Recent Clients.

Here is the code you could place in your html box at the top of your page:

Jump to <a href="#train">Training</a> ● <a href="#quals">Qualifications</a> ● <a href="#rc">Recent Clients</a>

This would appear as:

Jump to Training ● Qualifications ● Recent Clients

If you don’t want to use the words “Jump to” you can change them to whatever you want. The same applies to the bullet points. For example, you could use the following code instead:

For more information click on the following: <a href="#train">Training</a> | <a href="#quals">Qualifications</a> | <a href="#rc">Recent Clients</a>.

This would appear as:

For more information click on the following: Training | Qualifications | Recent Clients.

Now place the following code in an html box just above the section of the page with training information:

<a name="train"></a>

Then you would place the remaining two html boxes (with the amended code) just above their respective sections:

<a name="quals"></a>
<a name="rc"></a>

In the above example "#quals" could be rendered in any way you wish ("#q", "#qualifications", "#qu") as long as you ensure the abbreviated version in the above-heading code is the same (<a name="q"></a>, <a name="qualifications"></a> ,<a name="qu"></a>).

Some of you may have websites that allow you to do this automatically, without going through the rigmarole of coding yourself. However, if you do have to embed your own code then I hope the above example demonstrates that you don't need to be an html wizard to get the desired results.