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Discover how editors and proofreaders can use text generative AI as a business tool that enhances marketing, increases productivity and reduces stress.
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Online editing training course
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Classification in UK
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VAT must be charged to UK customers?
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EXAMPLE 1
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Digital service
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Yes
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EXAMPLE 2
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Not a digital service
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No
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EXAMPLE 3
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Probably not a digital service
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Probably no
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EXAMPLE 4
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Possibly not a digital service
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Possibly no
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EXAMPLE 5
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Nebulous
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Nebulous
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Your online course and the tax authority in other jurisdictions
So you’ve worked out what the deal is for your own jurisdiction. However, when it comes to selling globally, where you live is irrelevant when it comes to consumption taxes like VAT.
Anyone offering online courses in a global market must know where their customer lives. And it’s the tax authority’s rules in the customer’s jurisdiction that determine whether we need to add a consumption tax to the price.
Which can be a monumental barrier for sole-trading editors and proofreaders. Why? because here's what we need to take responsibility for.
Our consumption tax responsibilities
Small-business owners selling digital products and services internationally must have a mechanism in place to:
That list is enough to deter any small-business owner from sharing their knowledge and charging for it. Which is a crying shame because the editorial community is passionate about training and CPD.
And the fact is that most of us don’t have the time or skills to do this work – unless we decide we're not actually going to be editors and trainers anymore, but full-time accountants instead.
Nor can we afford to hire an expensive specialist tax accountant who will do this for us – unless we want the entire exercise to become unprofitable.
So what do we do?
Anyone offering online courses in a global market must know where their customer lives. And it’s the tax authority’s rules in the customer’s jurisdiction that determine whether we need to add a consumption tax to the price.
Which can be a monumental barrier for sole-trading editors and proofreaders. Why? because here's what we need to take responsibility for.
Our consumption tax responsibilities
Small-business owners selling digital products and services internationally must have a mechanism in place to:
- ensure that our customers provide the necessary jurisdiction data on our invoices
- allow our customers to exempt themselves from the tax where appropriate
- calculate the appropriate tax rate for every customer
- review that tax rate regularly (because they change!)
- collect the tax from the customer
- remit the collected tax to every single relevant tax authority. That's right. Every single one.
That list is enough to deter any small-business owner from sharing their knowledge and charging for it. Which is a crying shame because the editorial community is passionate about training and CPD.
And the fact is that most of us don’t have the time or skills to do this work – unless we decide we're not actually going to be editors and trainers anymore, but full-time accountants instead.
Nor can we afford to hire an expensive specialist tax accountant who will do this for us – unless we want the entire exercise to become unprofitable.
So what do we do?
The solution: Find a taxation-friendly training platform
There is a solution. Training platforms are increasingly offering tax support to their trainers. When evaluating a training platform for its taxation-friendliness, it’s critical that we understand the concept of the Merchant of Record.
What is a Merchant of Record?
A Merchant of Record is the legal entity that usually:
When we choose a training platform that acts as the Merchant of Record, or includes a third-party integration that does the same, that leaves us free to get on with the business of editorial training rather than worrying about whether we’re tax compliant in every part of the world we’re selling to.
If the platform doesn't offer that, we're the Merchants of Record, and the buck's back with us.
What’s on offer?
Some training platforms are partial Merchants of Record. PayHip, for example, calculates, collects and remits VAT in the UK and Europe for me as a UK resident. However, I’m responsible for the tax compliance in all other jurisdictions ... Cue the worry.
Some training platforms include integrations that calculate the tax but don’t collect or remit it. That’s on us or our (expensive) specialist tax accountants. LearnWorlds is an example. The Quaderno app calculates what we owe to whom, but we have to do the rest ... Cue the worry.
Some training platforms act as full Merchants of Record, meaning they calculate, collect and remit all the tax for all jurisdictions. Teachable is an example ... And relax!
What is a Merchant of Record?
A Merchant of Record is the legal entity that usually:
- calculates the appropriate rate of tax that needs to be added to a purchase of your course
- updates that rate of tax rate in your payment gateway when necessary
- collects that tax from your customer
- remits it to the tax authority in the appropriate jurisdiction.
When we choose a training platform that acts as the Merchant of Record, or includes a third-party integration that does the same, that leaves us free to get on with the business of editorial training rather than worrying about whether we’re tax compliant in every part of the world we’re selling to.
If the platform doesn't offer that, we're the Merchants of Record, and the buck's back with us.
What’s on offer?
Some training platforms are partial Merchants of Record. PayHip, for example, calculates, collects and remits VAT in the UK and Europe for me as a UK resident. However, I’m responsible for the tax compliance in all other jurisdictions ... Cue the worry.
Some training platforms include integrations that calculate the tax but don’t collect or remit it. That’s on us or our (expensive) specialist tax accountants. LearnWorlds is an example. The Quaderno app calculates what we owe to whom, but we have to do the rest ... Cue the worry.
Some training platforms act as full Merchants of Record, meaning they calculate, collect and remit all the tax for all jurisdictions. Teachable is an example ... And relax!
Where I host my editorial training courses
I now host my editorial training courses with Teachable for seven reasons:
Note that at the time of writing, trainers wanting to offer PayPal as a payment gateway in Teachable must set their course prices in US dollars.
Teachable is right for me, but any editor or proofreader embarking on online course creation should do their own research. Most platforms offer a free trial so you can get a feel for the setup, functionality and branding options.
- It acts as a full Merchant of Record, meaning I can focus on course creation rather than worrying about tax compliance.
- The platform is super user-friendly for me and my students.
- Teachable has a gorgeous app (iOS and Android), which is fantastic for students who want mobile access. Download it from your usual app store.
- I can brand my content appropriately.
- Multiple editorial trainers use Teachable, which means students can access our schools via a single platform.
- I can now offer payment plans that allow my students to spread the cost.
- And there's a bundles option that lets me offer you access to multiple courses ... and with big discounts!
Note that at the time of writing, trainers wanting to offer PayPal as a payment gateway in Teachable must set their course prices in US dollars.
Teachable is right for me, but any editor or proofreader embarking on online course creation should do their own research. Most platforms offer a free trial so you can get a feel for the setup, functionality and branding options.
Summing up: What to consider
- Creating and delivering online courses for editors and proofreaders has never been easier thanks to the growing number of platforms with user-friendly interfaces and multimedia functionality.
- What’s not so easy is the tax-compliance element. Many of the providers haven’t yet woken up to the implications for small-business owners operating in a global marketplace with complex and ever-changing tax rules.
- If you’re planning to teach online, make sure you understand the differences in tax rules for courses with a live component and courses that are self-directed, not just in your own jurisdiction but elsewhere too. Also bear in mind that what constitutes live tutoring might be nebulous.
- And, finally, if you decide to head down the self-directed training route, and your preferred platform isn’t offering a full Merchant of Record service, think carefully about who’s going to do that work and how much it will cost.
Related resources
- Check out my courses, their payment plans, and discounted bundles.
- Visit my Skills and training resource page to access free guidance.
- Find out how to log in and access courses you've already purchased.
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Find out why editorial conferences are worth attending for every editor and proofreader.
Summary of Episode 97
Listen to find out more about:
- Why even experienced editors need to learn
- How to use a conference to make a contribution to the profession
- Meeting other editors
- Having fun with colleagues and friends
Related resources
- 6 tips to help you speak in public with confidence. By Simon Raybould
- Editorial training without borders: Should you bother with international editing conferences?
- Organizing an editorial conference. With Beth Hamer
- Speaking at editing conferences: How to do it and love it
- Why editors and proofreaders should be networking
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
'Vivacity’ by Kevin MacLeod
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 88
Think proofreading or editing would be a good side hustle? Two professional editors tell you what you need to know so you don't make mistakes. Listen to find out more about:
- What a side hustle is and why it's popular
- Why there's resistance to the term 'side hustle' in the professional editorial community
- Whether an editorial business can be set up overnight
- The importance of skilling up and marketing
- The competition side hustlers have to deal with
- The different levels of editing
- How to find work
- Business-critical considerations
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from:
- EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
- EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Thinking about writing a book for editors and proofreaders? Find out how Brittany Dowdle and Linda Ruggeri navigated their authorial collaboration.
Summary of Episode 86
In this episode, Louise, Denise and their guests chat about:
- Networking for Freelance Editors: Intended readership
- Challenging assumptions about networking
- Why write a book?
- Writing for editors: The burden of scrutiny
- Co-authorship: Syncing schedules
- Working efficiently and productively
- The power of collaboration
- The importance of trust in a writing partnership
- Book-creation process: Beyond writing
- Tips for editors who want to write a book
Useful links and resources
- Find out more about the book: Networking for Freelance Editors
- The Networking for Freelance Editors website
- FREE downloadable networking worksheets
- Contact Brittany Dowdle
- Contact Linda Ruggeri
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from:
- EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
- EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn about the power of networking with Brittany Dowdle and Linda Ruggeri, two professional editors who've honed the art of building relationships and exchanging ideas to grow their businesses.
Summary of Episode 84
Brittany Dowdle and Linda Ruggeri chat with Louise and Denise about:
- Networking for Freelance Editors (book)
- Personality types and networking
- Positive outcomes from networking
- Organic vs salesy approaches to networking
- The power of volunteering
- Top tips for networking
Useful links and resources
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Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from:
- EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
- EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
A common stumbling block for editorial business owners is making time for marketing. Here’s why we must make time, and some resources to help you organize your business-promotion schedule.
What’s in this post …
Read on to find out more about:
- Why running a business means finding clients
- Working for others – being an employee
- Working on your business and in your business
- Setting up a business and marketing: The order of play
- Shifting from a no-time mindset to an all-the-time mindset
- Taking a strategic approach to marketing
Why running a business means finding clients
Every time an editor or proofreader says they don’t have time to build and implement a marketing strategy, they’re saying they don’t have time to find work.
None of us can run a business if there’s no business to run. Editing and proofreading work is essential. Otherwise we’re nothing more than a fancy title on a business card.
If marketing isn’t a part of your business model, it’s time either to work for someone else or shift your mindset.
None of us can run a business if there’s no business to run. Editing and proofreading work is essential. Otherwise we’re nothing more than a fancy title on a business card.
If marketing isn’t a part of your business model, it’s time either to work for someone else or shift your mindset.
Working for others – being an employee
There’s nothing wrong with being an employee. For some it’s a more suitable career choice. Unless you apply for a job in the marketing department, it will be someone else’s responsibility to do the company’s promotional work, to pull in the clients.
If you want to do your own thing, however, a commitment to business marketing must be part of the mix. That’s the difference between being self-employed and self-unemployed.
If you want to do your own thing, however, a commitment to business marketing must be part of the mix. That’s the difference between being self-employed and self-unemployed.
Working on your business and in your business
Every independent editorial business owner has two jobs:
There’s no way around this. The approach we use to find work will depend on who our target clients are. Think social media, content marketing, advertising, directory listings, professional membership, a visible website, letters, emails, networking, phone calls, and SEO. All or some of these will be in play.
If a no-time mindset is tripping you up, ask yourself whether you can imagine saying any of the following:
Those statements sound daft, don’t they? Of course we’d make time for editing, invoicing and checking spelling! We’re professionals and we’re business owners – those things are essential.
Finding work is just as important. If we don’t, there’s no editing to do, no invoices to send, no spellings to check.
Since we’re employers (of ourselves), not employees, we must do our own marketing, right from the get-go, and continue to do it for as long as we’re in business.
- The work they do
- And the work they do to get the work they do
There’s no way around this. The approach we use to find work will depend on who our target clients are. Think social media, content marketing, advertising, directory listings, professional membership, a visible website, letters, emails, networking, phone calls, and SEO. All or some of these will be in play.
If a no-time mindset is tripping you up, ask yourself whether you can imagine saying any of the following:
- I don’t have time to do editing.
- I don’t have time to send invoices.
- I don’t have time to check the spelling of a word in a dictionary.
Those statements sound daft, don’t they? Of course we’d make time for editing, invoicing and checking spelling! We’re professionals and we’re business owners – those things are essential.
Finding work is just as important. If we don’t, there’s no editing to do, no invoices to send, no spellings to check.
Since we’re employers (of ourselves), not employees, we must do our own marketing, right from the get-go, and continue to do it for as long as we’re in business.
Setting up a business and marketing: The order of play
Marketing doesn’t come after we’ve set up our business. That’s a misfire. It views marketing as if it’s a separate entity.
If we spend 12 months training to be a professional editor but dedicate no time to our marketing strategy, all we’ll have at the end is a skillset that’s invisible to everyone but us.
I know how to make lasagne, change a tyre, and remove a thorn from a Labrador’s paw, but those skills in themselves don’t mean people are offering me work as a chef, a mechanic or a veterinary nurse. Why would they? No one but me, my husband, my kid and my dog know I can do that stuff. I’ve not promoted those skills or set up a business around them (nor do I plan to, just in case you’re wondering!).
If you’re serious about becoming a professional editor, so much so that you’ve invested your hard-earned cash in a high-quality training course, start working on your marketing strategy at the same time so that you don’t end up as a professional thumb-twiddler!
If we spend 12 months training to be a professional editor but dedicate no time to our marketing strategy, all we’ll have at the end is a skillset that’s invisible to everyone but us.
I know how to make lasagne, change a tyre, and remove a thorn from a Labrador’s paw, but those skills in themselves don’t mean people are offering me work as a chef, a mechanic or a veterinary nurse. Why would they? No one but me, my husband, my kid and my dog know I can do that stuff. I’ve not promoted those skills or set up a business around them (nor do I plan to, just in case you’re wondering!).
If you’re serious about becoming a professional editor, so much so that you’ve invested your hard-earned cash in a high-quality training course, start working on your marketing strategy at the same time so that you don’t end up as a professional thumb-twiddler!
Shifting from a no-time mindset to an all-the-time mindset
Whatever marketing approach(es) you choose, do them regularly so that they’re a normal part of editorial business ownership.
Invoicing and tax returns are my least favourite aspects of running a business but I do them anyway. I have to. We all do.
Same thing with marketing. You don’t have to love marketing. You don’t even have to like it. Just do it anyway, all the time. Dedicate time in your business week to the task.
Every time you’re tempted to use that slot in your schedule to do something else, remind yourself that you don’t want to be self-unemployed, that you do want to earn a living from your editing business, and that when the client cupboard is bare it makes you feel miserable and stressed.
Invoicing and tax returns are my least favourite aspects of running a business but I do them anyway. I have to. We all do.
Same thing with marketing. You don’t have to love marketing. You don’t even have to like it. Just do it anyway, all the time. Dedicate time in your business week to the task.
Every time you’re tempted to use that slot in your schedule to do something else, remind yourself that you don’t want to be self-unemployed, that you do want to earn a living from your editing business, and that when the client cupboard is bare it makes you feel miserable and stressed.
Taking a strategic approach to marketing
Here are three things every editor needs to recognize about strategy:
A long-term marketing strategy is planned, targeted, and implemented continuously. That’s what keeps the cupboard full of good-fit clients, and what gives us the power to decide a project’s not a good fit, the price isn’t right, or the scheduling’s too tight.
- ‘I'd better do a bit of marketing because I’ve got no work lined up next month’ is not a strategy. It’s an emergency.
- ‘Great! I just got some work for next month so I don’t have to do any marketing for a while’ is not a strategy. It’s a recipe for a future emergency.
- ‘I’ll accept that horrible low-paid job because it’s better than nothing’ is not a strategy. It’s a business model that puts others in control.
A long-term marketing strategy is planned, targeted, and implemented continuously. That’s what keeps the cupboard full of good-fit clients, and what gives us the power to decide a project’s not a good fit, the price isn’t right, or the scheduling’s too tight.
Summing up
If you’re already marketing your editing business, fantastic. If you’re not, start now and don’t stop!
You don’t have to do your marketing the way I do my marketing. The foundation of my strategy is content marketing, but that’s because I work exclusively with independent authors in a specialist genre, and want those authors to find me via Google.
Your marketing strategy should reflect the best method of being visible to your ideal clients. That might mean sending emails, making phones calls, engaging in a group or forum, or advertising in a particular space.
And even if you don’t like marketing, make it part of your business practice anyway. Place it alongside the other aspects of your business that you’re obliged to do but would rather not. Why? Because marketing can mean the difference between working and walking away. If you’ve already invested your energy and money in training, that’s a waste of your valuable skills. You deserve more than that.
And who knows? You might even enjoy promoting your business once you start reaping the fruits of your labour!
You don’t have to do your marketing the way I do my marketing. The foundation of my strategy is content marketing, but that’s because I work exclusively with independent authors in a specialist genre, and want those authors to find me via Google.
Your marketing strategy should reflect the best method of being visible to your ideal clients. That might mean sending emails, making phones calls, engaging in a group or forum, or advertising in a particular space.
And even if you don’t like marketing, make it part of your business practice anyway. Place it alongside the other aspects of your business that you’re obliged to do but would rather not. Why? Because marketing can mean the difference between working and walking away. If you’ve already invested your energy and money in training, that’s a waste of your valuable skills. You deserve more than that.
And who knows? You might even enjoy promoting your business once you start reaping the fruits of your labour!
More marketing resources
Check out these additional resources about building a sustainable editorial business:
- Blogging for Business Growth (course)
- Branding for Business Growth (course)
- Business Skills Collection (6 ebooks)
- Marketing resource library (books, booklets and blogs and podcasts)
- Marketing Toolbox for Editors (multimedia course)
- Marketing Your Editing and Proofreading Business (book)
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Find out how to choose a name for your editing or proofreading business with Louise Harnby and Denise Cowle.
Listen to find out more about
- Brainstorming a list of possible business names
- Considering your target clients
- Identifying your core brand values
- Using a business name to tell the client what's on offer
- Checking the name is available
- Does the name reflect your brand identity?
- How findable and SEO-friendly is the name?
- Will the name stand the test of time?
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/
More business-tips resources
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Check out these additional resources that will help you make good decisions for your editorial business.
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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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Louise Harnby and Denise Cowle share 3 more tips about how to beat the overwhelm that can come with making your editing and proofreading business visible.
Listen to find out more about ...
- Why everyone has something to shout about, even if they think they don't
- Why some editors appear to do more marketing that is humanly possible, and why that shouldn't deter you
- The tricks those busy editorial marketers have up their sleeve and how you can mimic them
- Managing marketing by thinking in ones
Music Credit
'Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/
More help with marketing and being visible
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Marketing can be learned! Here are some of my most popular teaching tools, all created specifically for editors and proofreaders working in a global freelance market.
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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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Every professional editor is a business owner, and that role requires us to track the health of our businesses from one year to the next. Managing and analysing all that data can be a burden, especially if you’re more interested in words than numbers!
Fellow editor and Excel authority Maya Berger has created a tool that will make life easy. It’s called The Editor's Affairs (TEA).
Fellow editor and Excel authority Maya Berger has created a tool that will make life easy. It’s called The Editor's Affairs (TEA).
All the data in one place
When it comes to keeping an eye on the health of my business, simple has always been my goal. I’m an editor, not an accountant.
Essentially, I want as much as possible in one place:
And when it’s time to submit a tax return to (in my case) HMRC and evaluate how things are going, I don’t want to be faffing around with several different apps and spreadsheets.
Instead, I want to see the core data at a glance … data that will tell me the following:
On a project basis:
On a business-health basis:
I don’t want to spend ages collecting and collating this data so it’s easy to access. I want summaries that give me a number – automatically generated by the data I’ve inputted throughout the financial year.
Then, when it’s time to review my business and submit my return to the tax authorities, the numbers are ready and waiting for me.
I’ve been tracking my data for years, and while I’m fairly proficient with Excel, I’ve been aware that there’s more I could do to fine-tune my process. However, like many editors, I have neither the time nor the will. So when Maya asked me to take a look at TEA, I jumped at the chance.
When it comes to keeping an eye on the health of my business, simple has always been my goal. I’m an editor, not an accountant.
Essentially, I want as much as possible in one place:
- Project schedule
- Project data
- Business income
- Business expenses
And when it’s time to submit a tax return to (in my case) HMRC and evaluate how things are going, I don’t want to be faffing around with several different apps and spreadsheets.
Instead, I want to see the core data at a glance … data that will tell me the following:
On a project basis:
- Hourly rate
- Start and end dates
- Fees – quotes, paid, pending and overdue
- Baselines data – word count, hours worked
- Client name, project title, how they found me
On a business-health basis:
- Which clients I earn the most money from
- The worth of each client as a percentage of my total income
- Which months are the most lucrative
- Average hourly rates
- Average speeds
- Comparison of data with the previous year
- Income to declare
- Allowable expenses to offset
I don’t want to spend ages collecting and collating this data so it’s easy to access. I want summaries that give me a number – automatically generated by the data I’ve inputted throughout the financial year.
Then, when it’s time to review my business and submit my return to the tax authorities, the numbers are ready and waiting for me.
I’ve been tracking my data for years, and while I’m fairly proficient with Excel, I’ve been aware that there’s more I could do to fine-tune my process. However, like many editors, I have neither the time nor the will. So when Maya asked me to take a look at TEA, I jumped at the chance.
The Editor's Affairs (TEA)
So what is TEA? It’s a one-stop-shop Excel spreadsheet with lots of built-in jiggery-pokery that does all the tricky formula work for you. All you need to do is input the project (and expenses) data as it comes in.
Below are examples of some of the project data an editor can input, and the received data from TEA.
Examples of data the editor can input
Examples of received data from TEA
So what is TEA? It’s a one-stop-shop Excel spreadsheet with lots of built-in jiggery-pokery that does all the tricky formula work for you. All you need to do is input the project (and expenses) data as it comes in.
Below are examples of some of the project data an editor can input, and the received data from TEA.
Examples of data the editor can input
- Invoice number
- Start date
- Finish date
- Date of completion
- Payment due
- Payment date
- Client name
- Notes about the job
- How the client found me
- Total word count
- Estimated words per hour
- Desired hourly rate
- Actual number of hours worked
- Amount invoiced
- Amount received
Examples of received data from TEA
- A status alert if the invoice is overdue
- An estimate of actual words/hr
- An estimate of how many hours I’d have to work to achieve my desired hourly rate
- My actual rate per hour
- My actual speed
- My actual rate per 1,000 words
- The amount I need to quote to achieve my desired hourly rate
5 reasons why TEA is worth it
So why is it worth investing in TEA? I identified 5 standout features that I believe make this a must-have tool.
NOTE: The numbers and client information below are for the purposes of illustration only. I made them up because my business affairs are of no concern to anyone but me!
1. Making informed decisions when quoting
TEA allows you to see the impact of the data you’re inputting on your business, and make informed decisions about how you should quote. Let’s take an example:
John Smith asks me to line edit a 100K-word novel. I estimate I can edit at a speed of 1,750 words per hour, so I input that information along with the word count.
I decide I want to earn £40 per hour. I add that data to the row.
Now I can build my quote. I type 57 into the hours-worked cell.
For argument’s sake, let’s say I know that my client’s budget is £2,000. I can temporarily add this to the amount-received cell.
If I’m happy to work for £35.09 rather than £40 per hour, I’m good to go. If I don’t, I can negotiate with the client. The point is, I can play with the data I’m inputting and see the impact. And that means there are no surprises. I’m making informed decisions.
2. Collecting data for the future
Less experienced editors might not yet have enough older data to know how long a particular type of editing will take, or whether Client A’s work tends to be speedier to complete than Client B’s. TEA helps us build that knowledge via accrued data that we can use later on. Another example …
In April 2019, Jackie Jones asks me to proofread her 30,000-word novella. I have no clue how long it will take so I estimate a speed of 5,000 words an hour. I’m grateful for the opportunity because my business is new. I decide I’ll be happy earning anything over £20 per hour.
TEA tells me my rate per 1,000 words will be £4 and it’ll take 6 hours, so I bill for £120. I get the gig and do the work. In fact, it takes me 10 hours. I input the new data.
But I’ve learned something. And when Jackie comes back to me three months later with another job with the same word count, this time I can input more accurate data, meaning I’ll earn my desired rate of £20 per 1,000 words.
3. Saving time and protecting the data
At no time am I messing around with a calculator. All I do is input the raw data and review what TEA’s analysis cells tell me.
That saves me time because TEA’s doing the maths for me.
Plus, I can’t break the spreadsheet! TEA’s analysis cells are locked so I won’t inadvertently alter the complex formulae within.
4. Client analysis
Some editors work for repeat clients – an agency or publisher, for example. In those cases, we’re not always in control of the price, and yet those clients can still be valuable because of the amount of repeat work they send us and the percentage of our overall income their business accounts for.
Knowing who our most valuable clients are is essential if we’re to avoid knee-jerk reactions to rates of pay.
If Publisher A pays me an hourly rate half that of Agency A but gives me five times as much work, I’ll want to think very carefully before canning that client because I don’t like their pricing structure.
TEA’s Client Summaries Table does what is says on the tin. It’s here that we can see a list of our clients, the percentage their business contributes to our overall income, the number of hours’ work we’ve done for them and the total income received.
Time for another example …
Let’s say I’m scowling at the row on the Income sheet because I’ve yet to crack £15 per hour from Romance Fiction Press. Just above is an entry for John Smith, the indie author from whom I earned £40 per hour.
Terrible rates, I think. Exploitative, disrespectful, unfair. I’m about to head off to a Facebook group with 10,000 editor members and have a bit of a rant. Then I’m going to tell that press where to stick it.
But hang on a mo! What does TEA have to say?
I nip onto the Summaries sheet and take a look at the Client Summaries Table.
Yes, John Smith is a more valuable client on a project-by-project basis but he’s not giving me anywhere near the same volume of work as Romance Fiction Press.
Instead of ranting on Facebook, I need to use that time to plan a strategy that will bring in more John Smiths or better-paying publishers and agencies. Once done, I can phase out Romance Fiction Press. That might take a couple of years of intensive marketing. Until then, the press will stay.
Perhaps I can negotiate a raise with them. Maybe there are efficiency tools I can introduce to increase my speed when I’m editing for them. And they pay on time, are pleasant to work with, and have given me loads of fodder for my portfolio that I can leverage on my website and in future marketing.
The work is regular, too, and lands on my lap without my having to promote myself to get it. And that time saved is worth something.
5. Making tracking and tax less taxing
There are two additional and extremely useful summary tables in TEA:
The totals are the figures you’ll report to the tax office. They’re right there in front of you – no hunting around in different apps and other spreadsheets. All the data filters through from easy-to-fill-in Income and Expenses sheets accessible via TEA’s tabs.
So why is it worth investing in TEA? I identified 5 standout features that I believe make this a must-have tool.
NOTE: The numbers and client information below are for the purposes of illustration only. I made them up because my business affairs are of no concern to anyone but me!
1. Making informed decisions when quoting
TEA allows you to see the impact of the data you’re inputting on your business, and make informed decisions about how you should quote. Let’s take an example:
John Smith asks me to line edit a 100K-word novel. I estimate I can edit at a speed of 1,750 words per hour, so I input that information along with the word count.
- TEA tells me I’ll need to set aside just over 57 hours for the project.
I decide I want to earn £40 per hour. I add that data to the row.
- TEA tells me my estimated rate per 1,000 words will be £22.86.
Now I can build my quote. I type 57 into the hours-worked cell.
- TEA tells me I need to quote £2,285.71.
For argument’s sake, let’s say I know that my client’s budget is £2,000. I can temporarily add this to the amount-received cell.
- TEA tells me my rate per hour would be £35.09.
If I’m happy to work for £35.09 rather than £40 per hour, I’m good to go. If I don’t, I can negotiate with the client. The point is, I can play with the data I’m inputting and see the impact. And that means there are no surprises. I’m making informed decisions.
2. Collecting data for the future
Less experienced editors might not yet have enough older data to know how long a particular type of editing will take, or whether Client A’s work tends to be speedier to complete than Client B’s. TEA helps us build that knowledge via accrued data that we can use later on. Another example …
In April 2019, Jackie Jones asks me to proofread her 30,000-word novella. I have no clue how long it will take so I estimate a speed of 5,000 words an hour. I’m grateful for the opportunity because my business is new. I decide I’ll be happy earning anything over £20 per hour.
TEA tells me my rate per 1,000 words will be £4 and it’ll take 6 hours, so I bill for £120. I get the gig and do the work. In fact, it takes me 10 hours. I input the new data.
- TEA tells me I’ve actually achieved only 3,000 words per hour and that my hourly rate was £12, not £20.
But I’ve learned something. And when Jackie comes back to me three months later with another job with the same word count, this time I can input more accurate data, meaning I’ll earn my desired rate of £20 per 1,000 words.
3. Saving time and protecting the data
At no time am I messing around with a calculator. All I do is input the raw data and review what TEA’s analysis cells tell me.
That saves me time because TEA’s doing the maths for me.
Plus, I can’t break the spreadsheet! TEA’s analysis cells are locked so I won’t inadvertently alter the complex formulae within.
4. Client analysis
Some editors work for repeat clients – an agency or publisher, for example. In those cases, we’re not always in control of the price, and yet those clients can still be valuable because of the amount of repeat work they send us and the percentage of our overall income their business accounts for.
Knowing who our most valuable clients are is essential if we’re to avoid knee-jerk reactions to rates of pay.
If Publisher A pays me an hourly rate half that of Agency A but gives me five times as much work, I’ll want to think very carefully before canning that client because I don’t like their pricing structure.
TEA’s Client Summaries Table does what is says on the tin. It’s here that we can see a list of our clients, the percentage their business contributes to our overall income, the number of hours’ work we’ve done for them and the total income received.
Time for another example …
Let’s say I’m scowling at the row on the Income sheet because I’ve yet to crack £15 per hour from Romance Fiction Press. Just above is an entry for John Smith, the indie author from whom I earned £40 per hour.
Terrible rates, I think. Exploitative, disrespectful, unfair. I’m about to head off to a Facebook group with 10,000 editor members and have a bit of a rant. Then I’m going to tell that press where to stick it.
But hang on a mo! What does TEA have to say?
I nip onto the Summaries sheet and take a look at the Client Summaries Table.
- TEA tells me that work from Romance Fiction Press earned me £11,000, which accounts for 54% of my annual income.
- John Smith is responsible for £2,285.71, or 11% of my annual income.
Yes, John Smith is a more valuable client on a project-by-project basis but he’s not giving me anywhere near the same volume of work as Romance Fiction Press.
Instead of ranting on Facebook, I need to use that time to plan a strategy that will bring in more John Smiths or better-paying publishers and agencies. Once done, I can phase out Romance Fiction Press. That might take a couple of years of intensive marketing. Until then, the press will stay.
Perhaps I can negotiate a raise with them. Maybe there are efficiency tools I can introduce to increase my speed when I’m editing for them. And they pay on time, are pleasant to work with, and have given me loads of fodder for my portfolio that I can leverage on my website and in future marketing.
The work is regular, too, and lands on my lap without my having to promote myself to get it. And that time saved is worth something.
5. Making tracking and tax less taxing
There are two additional and extremely useful summary tables in TEA:
- The Monthly Summaries Table shows income, hours worked, expenses and charitable donations compiled from basic data the editor places in the onboard income and expenses sheets. You can see which months are most lucrative. TEA gives you a sense of the degree to which your work is seasonal, and that helps you to plan ahead and promote your business appropriately if you want to fill some gaps.
- The Allowable Expenses Table has an itemized breakdown of what you can offset against your income.
The totals are the figures you’ll report to the tax office. They’re right there in front of you – no hunting around in different apps and other spreadsheets. All the data filters through from easy-to-fill-in Income and Expenses sheets accessible via TEA’s tabs.
How do I find out more about TEA?
Isn’t the name adorable? Using TEA is like having a cuppa! And it’s all about the editor’s affairs – our business affairs.
The data the editor has to input is basic stuff that all of us have access to or can estimate with every new job or expense that comes in.
The data TEA gives takes the stress out of scheduling, accounting and analysis.
Every editor needs to understand the health of their business so that they can make informed decisions about who they work with, how much they charge and where the value lies.
When accessing that data becomes burdensome, the temptation is to wing it. TEA means you don’t have to.
Maya will be making TEA available for purchase in May 2020. For introductory rates or to learn more about customized versions for more complex accounting and analysis, check out whatimeantosay.com/tea.
***
NOTE: I have no commercial stake in TEA, though I was given a free copy to experiment with in return for feeding back my experience of using it.
Isn’t the name adorable? Using TEA is like having a cuppa! And it’s all about the editor’s affairs – our business affairs.
The data the editor has to input is basic stuff that all of us have access to or can estimate with every new job or expense that comes in.
The data TEA gives takes the stress out of scheduling, accounting and analysis.
Every editor needs to understand the health of their business so that they can make informed decisions about who they work with, how much they charge and where the value lies.
When accessing that data becomes burdensome, the temptation is to wing it. TEA means you don’t have to.
Maya will be making TEA available for purchase in May 2020. For introductory rates or to learn more about customized versions for more complex accounting and analysis, check out whatimeantosay.com/tea.
***
NOTE: I have no commercial stake in TEA, though I was given a free copy to experiment with in return for feeding back my experience of using it.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Every editorial report we write for our authors should achieve 7 goals. Some benefit us, some benefit our clients, but they’re all connected. If you feel your report-writing skills could do with a boost, use this goal-based framework to pep things up.
Let's look at the goals in brief; then we'll dig deeper.
Goals that benefit the editor
Goals that benefit the client
Goals that benefit the editor
- Create the report efficiently
- Demonstrate editorial excellence
- Build trust
- Compel future commissions and recommendations
Goals that benefit the client
- Offer a comprehensive learning tool
- Take a mindful approach
- Provide a solution-based critical review
Efficiency means achieving the three goals that benefit the client without compromising on one iota of quality and without damaging our productivity. We are in business, after all.
Creating detailed editorial reports can eat into an editor’s hourly rate. It’s easy – even for experienced sentence-level editors – to omit the time for report-writing when creating a quote; I’ve done it myself. We focus on the number of words per hour we edit, based perhaps on a sample.
Or perhaps we have included the report-writing component in our calculations but the author wants to negotiate on price. Every efficiency we incorporate allows us greater choice about whether to accept or reject a client’s proposal.
Creating detailed editorial reports can eat into an editor’s hourly rate. It’s easy – even for experienced sentence-level editors – to omit the time for report-writing when creating a quote; I’ve done it myself. We focus on the number of words per hour we edit, based perhaps on a sample.
Or perhaps we have included the report-writing component in our calculations but the author wants to negotiate on price. Every efficiency we incorporate allows us greater choice about whether to accept or reject a client’s proposal.
Goal 2: Demonstrate editorial excellence
Our second goal is to demonstrate editorial excellence. Those of you who are members of a national editorial society might well be bound by a code of practice that demands this.
That’s the case for members of the Chartered Institute of Editing and Proofreading (CIEP), which says in its CoP: ‘Good communication between client/employer and freelance/employee is essential.’
Editorial excellence isn’t just about being an expert in typo hunting, grammar correction and stylistic revision.
Neither does it end with clarity on the project brief or issues of privacy, confidentiality and security.
It’s also about communicating the why of our edits. Comprehensive editorial reports are the perfect communication tool, and the reason why we shouldn’t skimp.
That’s the case for members of the Chartered Institute of Editing and Proofreading (CIEP), which says in its CoP: ‘Good communication between client/employer and freelance/employee is essential.’
Editorial excellence isn’t just about being an expert in typo hunting, grammar correction and stylistic revision.
Neither does it end with clarity on the project brief or issues of privacy, confidentiality and security.
It’s also about communicating the why of our edits. Comprehensive editorial reports are the perfect communication tool, and the reason why we shouldn’t skimp.
Goal 3: Build trust
When we communicate the why of our decisions, we build trust.
If a client is anxious about how we’ve edited their work because they don’t understand the changes we’ve made and/or because we’re new to them, trust is low.
Part of our job is to earn it. A comprehensive editorial report that demonstrates a deep knowledge of our craft creates author confidence. And that’s the key to a healthy business relationship.
If a client is anxious about how we’ve edited their work because they don’t understand the changes we’ve made and/or because we’re new to them, trust is low.
Part of our job is to earn it. A comprehensive editorial report that demonstrates a deep knowledge of our craft creates author confidence. And that’s the key to a healthy business relationship.
Goal 4: Compel future commissions and recommendations
A client with a detailed editorial report that demonstrates excellence and builds confidence in your ability is more likely to do the following:
Now let's look at the benefits for the author.
- Come back to you with their next project
- Wait for you if your schedule is full
- Accept your price
- Recommended you to their friends, family and colleagues
Now let's look at the benefits for the author.
Goal 5: Offer a comprehensive learning tool
Our fifth goal is to provide our authors with an outstanding learning tool, rich in problem/solution-focused detail, which they can use to hone their writing craft.
The independent-author market is huge, and many in the community lack experience – they’re right at the beginning of their writing journey. They might well have talent by the bucket load but the line work we do is nevertheless extensive.
An editorial report gives us the chance to offer our guidance in a format that’s accessible and clear. And because it’s separate from their book file, they can refer to it time and again.
A comprehensive learning tool includes strengths, too. Writers can learn as much from knowing what they’re doing well – and should continue doing – as from knowing how they can up their game.
The independent-author market is huge, and many in the community lack experience – they’re right at the beginning of their writing journey. They might well have talent by the bucket load but the line work we do is nevertheless extensive.
An editorial report gives us the chance to offer our guidance in a format that’s accessible and clear. And because it’s separate from their book file, they can refer to it time and again.
A comprehensive learning tool includes strengths, too. Writers can learn as much from knowing what they’re doing well – and should continue doing – as from knowing how they can up their game.
Goal 6: Take a mindful approach
Our penultimate goal is to show mindfulness. As editors, we can never forget that every one of our author clients has a choice – and they chose us. They also have a passion – their book.
It takes commitment to write a story, and sometimes not a little courage to place it in the hands of a professional editor, particularly one they haven't worked with before. That decision comes with risk.
For the editor, being selected is a privilege rather than an entitlement. We must respect that choice, the risk taken, and their investment (time and money).
Yes, we should report on weaknesses; that’s how they’ll improve their sentence-level craft. But we must do so gently and respectfully, and complement that analysis with reflection on their strengths.
It takes commitment to write a story, and sometimes not a little courage to place it in the hands of a professional editor, particularly one they haven't worked with before. That decision comes with risk.
For the editor, being selected is a privilege rather than an entitlement. We must respect that choice, the risk taken, and their investment (time and money).
Yes, we should report on weaknesses; that’s how they’ll improve their sentence-level craft. But we must do so gently and respectfully, and complement that analysis with reflection on their strengths.
Goal 7: Provide a solution-based critical review
Many indie-author book files end up in our editing studios without having been evaluated by a developmental editor, a critiquing editor, an experienced beta reader or even a colleague or friend in a writing group.
Our reports need to offer a critical review that explores the book’s sentence-level strengths and weaknesses.
What’s essential is that we offer solutions to any weaknesses we identify. Without those, we risk creating a shopping list of what was good and what wasn’t. That kind of analysis won’t help the author grow as a writer. Neither will it reflect our editorial excellence.
Want to learn how to do it, and love it?
If you’re a sentence-level editor and think your reporting skills could do with a boost, or a new editor who wants to nail it from the start, take a look at my new course, How to Write the Perfect Fiction Editorial Report.
Our reports need to offer a critical review that explores the book’s sentence-level strengths and weaknesses.
What’s essential is that we offer solutions to any weaknesses we identify. Without those, we risk creating a shopping list of what was good and what wasn’t. That kind of analysis won’t help the author grow as a writer. Neither will it reflect our editorial excellence.
Want to learn how to do it, and love it?
If you’re a sentence-level editor and think your reporting skills could do with a boost, or a new editor who wants to nail it from the start, take a look at my new course, How to Write the Perfect Fiction Editorial Report.
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
In this post, I outline the start of the author–editor relationship – from first contact, to initial discussion, to booking confirmation. My process is personal to my business but it gives you an idea of what to expect.
1. The author makes contact
Clients are welcome to contact me via email, social media, telephone or my contact form. Most use the latter.
My contact form is basic because I want authors to be able to start a conversation with me as easily as possible. The biggest stumbling block is usually the time frame because I’m booked up months in advance. Establishing when they’d like the editing or proofreading carried out is therefore essential, as is the word count. It’s those two pieces of information that will guide me on best fit at this point.
I include a dropdown menu so that authors can quickly choose the service they’re looking for: a full line and copyedit, a mini line critique or a proofread.
I ask for a little information about the project, too. This is where an author can tell me about the genre of their novel and provide a brief summary of the project.
I also ask for a name and email address – nothing more in terms of personal details. An underpinning principle of GPDR compliance requires business owners to collect only necessary data. For me, the name and email is enough to enable me to reply to the query.
Clients are welcome to contact me via email, social media, telephone or my contact form. Most use the latter.
My contact form is basic because I want authors to be able to start a conversation with me as easily as possible. The biggest stumbling block is usually the time frame because I’m booked up months in advance. Establishing when they’d like the editing or proofreading carried out is therefore essential, as is the word count. It’s those two pieces of information that will guide me on best fit at this point.
I include a dropdown menu so that authors can quickly choose the service they’re looking for: a full line and copyedit, a mini line critique or a proofread.
I ask for a little information about the project, too. This is where an author can tell me about the genre of their novel and provide a brief summary of the project.
I also ask for a name and email address – nothing more in terms of personal details. An underpinning principle of GPDR compliance requires business owners to collect only necessary data. For me, the name and email is enough to enable me to reply to the query.
Screenshot of contact form
2. The project discussion
Now the author and I begin to talk. The focus at this stage tends to be on time frame, the type of editing required, and the price (subject to seeing a sample). There might be a little back and forth as we get to know each other and agree the terms of the editing project.
If the author sent a sample with their email, I’ll review it before responding. This is the perfect opportunity for me to check that the service they’ve asked for is a good fit for what I think the text requires. It also gives me a chance to get a feel for the writing style ... to see whether I can get under the skin of the novel and give the story the sentence-level pop the author’s seeking.
A sample helps me work out how long the editing will take too. With that information, I can determine the fee. If you want more information about samples, Denise Cowle and I cover this topic in Episode 6 of The Editing Podcast.
I sometimes include links to useful resources on my website if I think they'll help the author decide whether I’m a good fit for them.
You can access everything on offer via my Author Resources page but the 3 tools I most often refer to during this discussion phase are:
Now the author and I begin to talk. The focus at this stage tends to be on time frame, the type of editing required, and the price (subject to seeing a sample). There might be a little back and forth as we get to know each other and agree the terms of the editing project.
If the author sent a sample with their email, I’ll review it before responding. This is the perfect opportunity for me to check that the service they’ve asked for is a good fit for what I think the text requires. It also gives me a chance to get a feel for the writing style ... to see whether I can get under the skin of the novel and give the story the sentence-level pop the author’s seeking.
A sample helps me work out how long the editing will take too. With that information, I can determine the fee. If you want more information about samples, Denise Cowle and I cover this topic in Episode 6 of The Editing Podcast.
I sometimes include links to useful resources on my website if I think they'll help the author decide whether I’m a good fit for them.
You can access everything on offer via my Author Resources page but the 3 tools I most often refer to during this discussion phase are:
- Submitting to agents and working with editors (blog post and booklet)
- How to prepare your book file for a fiction editor (blog post and video)
- Which level of editing do you need? (booklet)
3. Booking the editing project
Once the author and I have decided we want to work together, and agreed a price and completion date, it’s time to confirm the booking.
I ask them to read my terms and conditions (which are designed to protect us both), then fill in the booking-confirmation form (scroll to the bottom of the T&Cs web page if you want to have a look at it).
Receipt of that form triggers me to send an invoice for the booking fee that will secure the author’s slot in my schedule.
Once the author and I have decided we want to work together, and agreed a price and completion date, it’s time to confirm the booking.
I ask them to read my terms and conditions (which are designed to protect us both), then fill in the booking-confirmation form (scroll to the bottom of the T&Cs web page if you want to have a look at it).
Receipt of that form triggers me to send an invoice for the booking fee that will secure the author’s slot in my schedule.
Screenshot of booking-confirmation form
4. Preparing for the edit: styles and files
There’s an Author Style Preferences form next to the booking-confirmation form in which clients can register any decisions they’d like me to adhere to during the editing or proofreading process. These aren’t set in stone and can be changed at any time before the editing begins.
There’s an Author Style Preferences form next to the booking-confirmation form in which clients can register any decisions they’d like me to adhere to during the editing or proofreading process. These aren’t set in stone and can be changed at any time before the editing begins.
Authors are welcome to send me their book file at any time once the booking has been confirmed. My only stipulation is that it arrives 24 hours before editing begins. This gives me time to check that the file can be opened and edited.
I hold the files securely in my Dropbox account, which is protected via two-factor authentication.
5. Reminding the author about the start date
I like to give my authors a little nudge at least a week before the start date. Editing will usually have been booked many months earlier and I might not be top of mind if the client is busy with other commitments. A nudge costs nothing and is invariably appreciated by time-poor authors.
If I’ve already received the book file, the reminder is simply a courtesy to let them know I’m about to start working on their project, and to check that the file hasn’t been revised in the meantime. Otherwise, it’s a reminder of the date by which the author needs to deliver the file.
Summing up
Editors work in a variety of ways. The process I’ve outlined here might look very different to my colleagues’. Still, it gives you an idea of what to expect when you get in touch with me.
If you have any questions, feel free to drop me a line. In the meantime, help yourself to the freebies. You don’t even have to hand over your email address to access them – just click and grab.
I hold the files securely in my Dropbox account, which is protected via two-factor authentication.
5. Reminding the author about the start date
I like to give my authors a little nudge at least a week before the start date. Editing will usually have been booked many months earlier and I might not be top of mind if the client is busy with other commitments. A nudge costs nothing and is invariably appreciated by time-poor authors.
If I’ve already received the book file, the reminder is simply a courtesy to let them know I’m about to start working on their project, and to check that the file hasn’t been revised in the meantime. Otherwise, it’s a reminder of the date by which the author needs to deliver the file.
Summing up
Editors work in a variety of ways. The process I’ve outlined here might look very different to my colleagues’. Still, it gives you an idea of what to expect when you get in touch with me.
If you have any questions, feel free to drop me a line. In the meantime, help yourself to the freebies. You don’t even have to hand over your email address to access them – just click and grab.
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Here are 5 things you can do in the year ahead to put a shine on the way you run your editing and proofreading business,
1. Be the editor who says, ‘It’s down to me’
Editors who work in-house edit. As for the other stuff, someone else does that for them – marketing, accounting, branding, heating the building, providing a good-quality office chair ... all of it.
Employee editors can say, ‘It’s not my job.’ Independent editors can’t. Most indie editors don’t have assistants, in-house accountants, IT managers, marketing departments or ready-made brand strategies.
All of those things are down to us. If we don’t make them part of our job, we risk not being able to put food on the table, not paying our bills, breaching our legal responsibilities, working in an environment that’s physically unfit for purpose and, worst of all, having no clients. And we have to buy our own chairs.
Chairs aside, having no clients means we’re not independent business owners. It means we’re unemployed.
There are bits of my job I’d rather not do. You’re probably the same. I happen to love the marketing side of things but I have friends who loathe it. One of my editor pals gets a kick from using gadgets and spreadsheets that help her manage her invoicing; I find it a bore. That’s fine – we’re different. However, we both must find clients and track our financials, whether we struggle with these tasks or relish the challenge.
Being an editor is not enough. Being an editor is the work we do. Everything else is the work we do to get the work we do and operate in a professional manner.
Editing is only one part of being an editorial business owner. For our businesses to thrive, we must do all the parts. We can’t afford to say, ‘But I don’t like marketing’, ‘I’m not good with spreadsheets’, ‘I’m not interested in the business end of things’, or ‘I don’t have time to learn how to do those things’, because we’re not employees.
We have to say, ‘It’s down to me.’
Editors who work in-house edit. As for the other stuff, someone else does that for them – marketing, accounting, branding, heating the building, providing a good-quality office chair ... all of it.
Employee editors can say, ‘It’s not my job.’ Independent editors can’t. Most indie editors don’t have assistants, in-house accountants, IT managers, marketing departments or ready-made brand strategies.
All of those things are down to us. If we don’t make them part of our job, we risk not being able to put food on the table, not paying our bills, breaching our legal responsibilities, working in an environment that’s physically unfit for purpose and, worst of all, having no clients. And we have to buy our own chairs.
Chairs aside, having no clients means we’re not independent business owners. It means we’re unemployed.
There are bits of my job I’d rather not do. You’re probably the same. I happen to love the marketing side of things but I have friends who loathe it. One of my editor pals gets a kick from using gadgets and spreadsheets that help her manage her invoicing; I find it a bore. That’s fine – we’re different. However, we both must find clients and track our financials, whether we struggle with these tasks or relish the challenge.
Being an editor is not enough. Being an editor is the work we do. Everything else is the work we do to get the work we do and operate in a professional manner.
Editing is only one part of being an editorial business owner. For our businesses to thrive, we must do all the parts. We can’t afford to say, ‘But I don’t like marketing’, ‘I’m not good with spreadsheets’, ‘I’m not interested in the business end of things’, or ‘I don’t have time to learn how to do those things’, because we’re not employees.
We have to say, ‘It’s down to me.’
2. Make changes
No one gets it perfect right from the get-go. Running a business is about testing and tracking so that we discover what works and what doesn’t. If things aren’t going as we hoped, we need to be ready to invest in change.
Easy to say, harder to do, I know. But change we must. The responsibility lies with us.
No one gets it perfect right from the get-go. Running a business is about testing and tracking so that we discover what works and what doesn’t. If things aren’t going as we hoped, we need to be ready to invest in change.
- If our schedules have lots of gaps in them, our marketing needs work.
- If we’re not attracting the clients we want to work with, our branding needs attention.
- If we’re not earning enough to make ends meet, we need to find new clients or tweak our fee structure.
- If we’re attracting clients who let us down, we need to tweak our contracts and terms.
- If our scheduling is muddled, our time management needs fixing.
Easy to say, harder to do, I know. But change we must. The responsibility lies with us.
EXAMPLE
All businesses change. For example, a publisher might outsource production to another country, squeeze more words on a page, ask freelancers to do more for the same money, or freeze its project fees, all of which have an impact on profitability for the independent editor working for that publisher.
All businesses change. For example, a publisher might outsource production to another country, squeeze more words on a page, ask freelancers to do more for the same money, or freeze its project fees, all of which have an impact on profitability for the independent editor working for that publisher.
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The editor could say that the negative impact on the health of their business is the publisher’s fault, that it's not fair, that it's exploitative. But blaming publishers for taking action to make themselves profitable is not a solution.
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‘And it will reduce the quality,’ some editors say. Maybe not, maybe so. That’s not our problem. It’s theirs. They’re business owners and so are we. All of us do what we need to do to make our enterprises successful.
If we don’t like the way a client's operating, we should take positive action to find a replacement. It's not the client's job to make another business owner's enterprise successful.
It can be tempting to use online spaces – Facebook groups, for example – to vent our complaints. However, that’s a waste of precious time that we could be using to locate our new client.
Action for change trumps blame every time.
If we don’t like the way a client's operating, we should take positive action to find a replacement. It's not the client's job to make another business owner's enterprise successful.
It can be tempting to use online spaces – Facebook groups, for example – to vent our complaints. However, that’s a waste of precious time that we could be using to locate our new client.
Action for change trumps blame every time.
3. Don't measure your own success against other people’s raw data
Track your own data and use it to assess the health of your editing business. Your colleagues’ metrics don’t matter because those relate to their businesses, not yours.
And there’s another problem – it’s often like comparing apples and oranges. Here are two examples:
- The data picked up by Google Analytics varies from website host to host. That means any comparison of my Weebly site with a colleague’s Wordpress or Wix site is pretty much meaningless.
- Even when you look at your own data, you’ll get different figures depending on the analytics program you’re using. I access analytics data using StatCounter, Google Analytics and Weebly. None of the numbers are the same, and I don't mean a little bit not the same; I mean a lot not the same. It’s not that two of those programs are wrong but that all three are recording different things.
Does that mean you shouldn’t look at analytics? Not at all. But instead of looking at just the raw numbers, think about longer-term patterns in the data and outcomes (bookings/sales).
How does this financial quarter compare with the previous one, or this year with the previous one? Have you made changes either on your website or elsewhere that might have influenced your analytics?
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PATTERN EXAMPLES
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WHAT ARE THE LONGER-TERM BUSINESS OUTCOMES?
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Your analytics program tells you the page views on your site have risen from 5,000 per year 2 years ago to 80,000 in the current year. The data reveals that this is down to your blogging.
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The more important question is whether there’s a correlation between your blog-driven traffic and the number of requests to quote from clients who are offering the kind of work you want to do and are prepared to pay your price.
That you've increased your traffic to 80,000 in 2 years is irrelevant if you're still not attracting enough paying work from ideal clients. If a blog is generating traffic but that isn't converting into sales, assess whether your content's hitting the mark. In other words, are you solving the right problems? |
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You regularly post on LinkedIn. You’ve built a large number of connections and get strong engagement with your posts. Your analytics data tells you that LI has driven more traffic to your site than any other social media platform in the past 12 months.
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The more important question is whether you can discern a corresponding increase in work leads and sales (even indirectly) and other opportunities that drive your business forward.
Social media platforms are fantastic content distribution and networking platforms. Still, when it comes to business, we need to use them with purposeful goals in mind. |
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You’ve noticed a 20% decrease in views of your contact page in the past three months. You’ve made some big changes to your website this quarter as part of a branding exercise and worry they’ve had a negative effect.
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The important question to ask is how that corresponds with the number of people asking for quotes, and the number of confirmed bookings.
Visiting a contact page and getting in contact are two completely different things. If you’re still receiving the same number of requests to quote as in the previous quarter, perhaps you’re appealing to a more targeted client base and are achieving a higher visit:click conversion ratio. Even if you’re receiving fewer requests to quote, but more of those have turned into confirmed bookings, that’s a positive outcome, and one to be celebrated, not a negative one! It shows that your branding is working. |
We must keep our attention on the end goal. Visitors, page views, shares, likes, follows, comments, connections etc. are only starting-point visibility indicators.
To be meaningful, they need to be considered over time and evaluated within the context of, and measured against, business goals: e.g. requests to quote, confirmed bookings, quality of clients, income, and the length of your wait-list. Otherwise, they’re nothing more than vanity metrics.
As for other people’s raw stats, they tell you nothing about your own business’s needs and goals. Don't spend valuable time worrying about them.
4. Track, plan and schedule
Like all sole traders, independent editors have to do everything themselves, unless they contract out services to, say, a VA, a marketer or an accountant, any of which will incur costs.
We can find ourselves being asked to carry out impossible feats of juggling – too many activities and not enough time to do what must be done. The solution could lie in improved scheduling:
(1) Track how much time you spend on social media during work hours and check that all of it is relevant to your business. Be strict with your social engagement – schedule it, and stick to that plan. You’ll save time and be more productive.
To be meaningful, they need to be considered over time and evaluated within the context of, and measured against, business goals: e.g. requests to quote, confirmed bookings, quality of clients, income, and the length of your wait-list. Otherwise, they’re nothing more than vanity metrics.
As for other people’s raw stats, they tell you nothing about your own business’s needs and goals. Don't spend valuable time worrying about them.
4. Track, plan and schedule
Like all sole traders, independent editors have to do everything themselves, unless they contract out services to, say, a VA, a marketer or an accountant, any of which will incur costs.
We can find ourselves being asked to carry out impossible feats of juggling – too many activities and not enough time to do what must be done. The solution could lie in improved scheduling:
(1) Track how much time you spend on social media during work hours and check that all of it is relevant to your business. Be strict with your social engagement – schedule it, and stick to that plan. You’ll save time and be more productive.
EXAMPLES
- The hive mind is wonderful but there is such a thing as too many cooks in the kitchen. If you’re stuck on an editing conundrum, might you query with the client and move on rather than spending half an hour on Facebook garnering opinion from several hundred editors?
- If a job is struggling to hold your attention, could you switch away and do something else for your business such as marketing or invoicing rather than letting off steam on Twitter?
- If you don’t have enough work, how about doing things to find work rather than telling 10,000 colleagues online that you’re having a rough time? Sympathy is not a solution, lovely though it is.
(2) Schedule all tasks, not just editing. Invoicing, marketing, replying to requests to quote, and dealing with queries can cause problems when they’re not scheduled. If you have 7 hours a day available for work, allot some of that time to stuff that enables you to run your business.
That might mean you only have 5 hours a day available for editing, not 7, which means you’ll need to assign a longer period of time to complete each project. If you need to shift things around, fine – there’s a big difference between drinking your tea at a different time and forgetting to switch the kettle on.
EXAMPLE
When Denise Cowle and I decided to set up The Editing Podcast, we knew the pre-launch work would have to be squeezed into our already busy business and personal schedules. This was a new venture, one that would run on top of our existing business activities, not instead of them.
It would have been easy for either of us to say, ‘I don’t have time – let’s do it in the next couple of weeks. I’ll call you when I’m free.’ We knew this would be a disaster, that it would lead to procrastination and delay.
When Denise Cowle and I decided to set up The Editing Podcast, we knew the pre-launch work would have to be squeezed into our already busy business and personal schedules. This was a new venture, one that would run on top of our existing business activities, not instead of them.
It would have been easy for either of us to say, ‘I don’t have time – let’s do it in the next couple of weeks. I’ll call you when I’m free.’ We knew this would be a disaster, that it would lead to procrastination and delay.
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Instead, we scheduled our planning, content-creation and recording sessions months in advance. Work and family commitments intruded, of course, but changes were accommodated with immediate rescheduling. We stayed on track by keeping the kettle on!
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5. Create templates and information resources
Templates make life easier and help editors work faster. They can be customized, of course, but the underlying framework is in place, meaning we can focus on tweaking the nitty-gritty so that what we’re creating is specific to the recipient. The following all lend themselves to templating:
- Style sheets
- Editorial reports
- Replies to requests for information
- Invoices
When we find ourselves explaining the same problem to different clients, it’s time to create a resource that we can use indefinitely.
For example, if you’re a developmental editor you might have written numerous reports and queries in which you describe the fundamentals of narrative point of view. Instead of repeating yourself, create a document that outlines the principles in detail.
The initial work will take you time, but once done you can use it over and over.
You can also place that information on your website and use it as a promotional tool.
EXAMPLE
I’m a specialist sentence-level fiction editor. Many of my clients are first-time authors who struggle to punctuate dialogue, use apostrophes correctly, and render thoughts consistently in their writing.
When I’m creating the handover editorial report, I don’t include long explanations about why and how I fixed these problems. Instead, I alert clients to the issues in brief and link to the relevant booklets on my website.
I’ve shaved hours off my report-writing time and repurposed the resources for business promotion.
I’m a specialist sentence-level fiction editor. Many of my clients are first-time authors who struggle to punctuate dialogue, use apostrophes correctly, and render thoughts consistently in their writing.
When I’m creating the handover editorial report, I don’t include long explanations about why and how I fixed these problems. Instead, I alert clients to the issues in brief and link to the relevant booklets on my website.
I’ve shaved hours off my report-writing time and repurposed the resources for business promotion.
Summing up
If you’re looking for ways to make your business life run more smoothly in the next 12 months, perhaps some or all of these 5 tips will help you to save time, increase productivity, and take action.
There are some free templates and other resources in the Further Reading section below. Help yourself.
Happy New Year!
Further reading
- How to become a better editor while secretly promoting your business (blog post)
- How to increase your productivity ... the AIR way (blog post)
- How to minimize cancellations and non-payment for editing and proofreading services (blog post)
- Invoicing: Excel template (free: scroll through the resource gallery)
- Overcoming marketing paralysis: How to turn overwhelm into action (blog post)
- Free scheduling template
- Free style sheet template
- Marketing and branding courses and books for editors
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Every professional editor and proofreader wants to attract best-fit clients who are prepared to commit to a contract of editorial services. For the most part, bookings go smoothly – cancellations, delays, and failures to pay are unusual. Still, editorial business owners need to protect themselves ... just in case.
This article doesn’t seek to offer you a model contract or set of terms and conditions (T&Cs), though you’re welcome to look at mine for inspiration: Terms and conditions.
Instead, I want to explore some ideas about how to develop your spidey sense, and use language and tools that will repel those who’d let you down.
What does ‘delay’ mean to you?
The concept of the delay is nonsense to an editorial business owner.
If a client asks you to proofread a book, tells you the proofs will arrive with you on 10 May, and requests return of the marked-up proofs a week later, and you agree to take on the job, those are the terms: proofread to start 10 May; delivery 7 days later.
You’ll schedule the project accordingly, and will decline to work for anyone else from 10–17 May. If two weeks ahead of the start date you’re told ‘there’ll be a delay’, you’ll likely have no work for 10–17 May unless you can fill that space at the last minute. Moreover, you will be booked for another project during the period when the project will become available.
To my mind, that’s not a delay. You can’t magic additional hours out of thin air. That’s a cancellation of the project terms that were agreed to by both parties.
Instead, I want to explore some ideas about how to develop your spidey sense, and use language and tools that will repel those who’d let you down.
What does ‘delay’ mean to you?
The concept of the delay is nonsense to an editorial business owner.
If a client asks you to proofread a book, tells you the proofs will arrive with you on 10 May, and requests return of the marked-up proofs a week later, and you agree to take on the job, those are the terms: proofread to start 10 May; delivery 7 days later.
You’ll schedule the project accordingly, and will decline to work for anyone else from 10–17 May. If two weeks ahead of the start date you’re told ‘there’ll be a delay’, you’ll likely have no work for 10–17 May unless you can fill that space at the last minute. Moreover, you will be booked for another project during the period when the project will become available.
To my mind, that’s not a delay. You can’t magic additional hours out of thin air. That’s a cancellation of the project terms that were agreed to by both parties.
Make sure your T&Cs reflect this. Don’t use the language of delay if it means nothing to you. Have a cancellation policy and make it clear that confirmed bookings are for an agreed time frame, and that failure to meet the agreed date will invoke that cancellation policy.
You might decide not to invoke it as a courtesy, but having it could reduce the likelihood of having to make the decision.
Is ‘deposit’ a strong enough term?
The word ‘deposit’ should be strong enough as long as the refund terms are clear. Still, you might want to couch your language along the lines of what editor and book coach Lisa Poisso calls ‘real money’.
I don’t refer to deposits in my terms and conditions. I call them booking fees. A fee is a payment. It’s the language of money. ‘Deposit’ as a noun has a broader mass-of-material meaning; as a verb it means to place something somewhere. Maybe, for some people, it has a softer feel to it.
You might decide not to invoke it as a courtesy, but having it could reduce the likelihood of having to make the decision.
Is ‘deposit’ a strong enough term?
The word ‘deposit’ should be strong enough as long as the refund terms are clear. Still, you might want to couch your language along the lines of what editor and book coach Lisa Poisso calls ‘real money’.
I don’t refer to deposits in my terms and conditions. I call them booking fees. A fee is a payment. It’s the language of money. ‘Deposit’ as a noun has a broader mass-of-material meaning; as a verb it means to place something somewhere. Maybe, for some people, it has a softer feel to it.
Of course, anyone required to pay a deposit knows full well that the financial definition is being referred to. Nevertheless, using the language of money – a fee – might well encourage time-wasters to think twice.
The following might also work for you:
What you charge upfront is up to you. Some editors charge a 50% booking fee rather than a flat rate. Some require one third to secure the booking, another third just before editing starts, and the remaining third upon completion of the project. You can define your own model.
Do you have a booking form?
You and a client can agree to your providing editorial services via email, and emails count contractually. But how about requiring a specific additional action, one that reinforces a sense of commitment?
Asking someone to fill in a booking form that confirms they have read, understood and agreed to your terms and conditions, including your booking fee and your cancellation policy, means they have to make a proactive decision to commit.
When it comes to filling in a form and ticking boxes, a non-committed client is less likely to feel comfortable than a good-fit one because it feels more formal.
You can create a PDF booking form that you’ll email manually, or create the form on your website. My choice is the latter. I include it below my T&Cs. That way, the booking and the terms are closely linked.
Here’s a screenshot of mine. Notice the boxes that must be checked in order to confirm the booking.
The following might also work for you:
- down payment
- advance payment
- prepayment
What you charge upfront is up to you. Some editors charge a 50% booking fee rather than a flat rate. Some require one third to secure the booking, another third just before editing starts, and the remaining third upon completion of the project. You can define your own model.
Do you have a booking form?
You and a client can agree to your providing editorial services via email, and emails count contractually. But how about requiring a specific additional action, one that reinforces a sense of commitment?
Asking someone to fill in a booking form that confirms they have read, understood and agreed to your terms and conditions, including your booking fee and your cancellation policy, means they have to make a proactive decision to commit.
When it comes to filling in a form and ticking boxes, a non-committed client is less likely to feel comfortable than a good-fit one because it feels more formal.
You can create a PDF booking form that you’ll email manually, or create the form on your website. My choice is the latter. I include it below my T&Cs. That way, the booking and the terms are closely linked.
Here’s a screenshot of mine. Notice the boxes that must be checked in order to confirm the booking.
Is ‘booking form’ a strong enough term?
Even if someone is prepared to fill in a form and check some boxes, agreeing to a contract might make them think twice. That has a more legally binding feel about it; it’s more formal. And it might be the thing that repels someone who’s going to let you down.
My T&Cs state that the booking-confirmation form is an agreement to the contract of services between me and the client, and the phrase ‘Contract of services agreement’ in the heading is what appears when they click on the booking-confirmation form button.
Even if someone is prepared to fill in a form and check some boxes, agreeing to a contract might make them think twice. That has a more legally binding feel about it; it’s more formal. And it might be the thing that repels someone who’s going to let you down.
My T&Cs state that the booking-confirmation form is an agreement to the contract of services between me and the client, and the phrase ‘Contract of services agreement’ in the heading is what appears when they click on the booking-confirmation form button.
Are your terms and conditions detailed enough?
In the main, your website should be client-focused. It should make the client feel that you understand their problems, are able to deliver solutions, and understand what the impact of your solutions will be.
Your brand voice should sing out loud. In my case, for example, that means using a gentle, nurturing tone.
However, when it comes to your terms and conditions, forget all the touchy-feely stuff – this is where you and the client get down to business. It’s in everyone’s interests to know what’s what.
That might mean that your T&Cs are rather dull and boring. No matter. It’s the one place on your website where you’re allowed to be dull and boring!
I feel like chewing my own arm off when I read my T&Cs but I don’t want any of my clients in doubt about what I’m offering and what they’re getting.
Think about the following:
A non-committed client will be repelled if your terms put them at risk. A good-fit client will feel reassured that they’re dealing with a fellow professional who takes the editing work as seriously as they do.
Are the basics front and centre?
Many editors place links to the detailed contractual stuff in their website’s footer, which means the T&Cs are almost invisible. Even a good-fit client probably won’t see or read your T&Cs during their initial search for editorial services.
That’s the case on my website. If it’s the same for you, consider placing the basics front and centre.
I’ve created a box on my contact page that spells out the non-refundable booking fee I charge.
In the main, your website should be client-focused. It should make the client feel that you understand their problems, are able to deliver solutions, and understand what the impact of your solutions will be.
Your brand voice should sing out loud. In my case, for example, that means using a gentle, nurturing tone.
However, when it comes to your terms and conditions, forget all the touchy-feely stuff – this is where you and the client get down to business. It’s in everyone’s interests to know what’s what.
That might mean that your T&Cs are rather dull and boring. No matter. It’s the one place on your website where you’re allowed to be dull and boring!
I feel like chewing my own arm off when I read my T&Cs but I don’t want any of my clients in doubt about what I’m offering and what they’re getting.
Think about the following:
- How much do you charge for a booking fee or advance payment?
- What are the penalties for cancellation and when do they kick in?
- Is final payment required before the edited project is delivered to the client?
- If you’ll deliver first, will payment be required immediately? Within 7 days? Within 30 days?
- Are there penalties for late payment of the final invoice?
- Does your booking form require confirmation that your terms have been read, understood and agreed to?
A non-committed client will be repelled if your terms put them at risk. A good-fit client will feel reassured that they’re dealing with a fellow professional who takes the editing work as seriously as they do.
Are the basics front and centre?
Many editors place links to the detailed contractual stuff in their website’s footer, which means the T&Cs are almost invisible. Even a good-fit client probably won’t see or read your T&Cs during their initial search for editorial services.
That’s the case on my website. If it’s the same for you, consider placing the basics front and centre.
I’ve created a box on my contact page that spells out the non-refundable booking fee I charge.
Will it put off some potential clients? Absolutely. But if someone can’t afford that booking fee or doesn’t dare take the risk of making a payment because they’re unsure whether they’ll honour the contract, they’re not the right client for me.
Spotting red flags
Developing your spidey sense can reduce the likelihood of becoming entangled with those who’ll back out of confirmed bookings or fail to pay.
Spotting red flags
Developing your spidey sense can reduce the likelihood of becoming entangled with those who’ll back out of confirmed bookings or fail to pay.
Though there’s no foolproof way to protect yourself from non-committed clients, there are red flags you can look out for:
Summing up
I hope these tips help you avoid non-committed clients and safeguard your business. Even if you implement some of my ideas, there are no guarantees unless you ask for 100% of your fee upfront. However, rest assured that most clients are honest, committed and trustworthy individuals who are a pleasure to work with.
As for those who blow you out, a few are scoundrels. Others aren’t but are thoughtless and haven’t taken the time to understand the emotional and financial impact of cancellations and non-payment. Others have got cold feet. And some have been struck by unusual or extraordinary circumstances like bereavement. Most don’t mean to cause distress or place editors in financial hardship, even though those are two very real potential outcomes.
By using real-money language and action-driving tools, we can build stronger bonds of trust with those who are serious about working with us, and repel most of those who aren’t.
More resources
- The person tells you they want to go ahead and hire you for a specific time frame but doesn’t fill in the booking form, or you have to nudge them several times. This could indicate that they’re not yet committed to working with you.
- The person fills in the booking form but fails to pay your booking fee. This is a strong indicator that the funds are not in place, and might never be.
- The person fills in a booking form and pays the fee but seeks to change the terms they booked under. This is a strong indicator that they’re not in the right mindset to commit to your editing services.
- The person is consistently slow to respond to emails during the initial discussion phase, and needs frequent nudging about the state of play. This might indicate that they don’t take your business offering seriously.
- The person gives you conflicting information about what’s required, or repeats questions about money and dates that you’ve already answered. This indicates they’ve not read your correspondence properly, which could lead to problems later.
- The person hasn’t begun the writing process, or has but isn’t sure when they’ll finish. If you don’t keep in regular touch with the client to check the project’s on track – which is time-consuming – the project could go off the rails and you’ll be none the wiser.
Summing up
I hope these tips help you avoid non-committed clients and safeguard your business. Even if you implement some of my ideas, there are no guarantees unless you ask for 100% of your fee upfront. However, rest assured that most clients are honest, committed and trustworthy individuals who are a pleasure to work with.
As for those who blow you out, a few are scoundrels. Others aren’t but are thoughtless and haven’t taken the time to understand the emotional and financial impact of cancellations and non-payment. Others have got cold feet. And some have been struck by unusual or extraordinary circumstances like bereavement. Most don’t mean to cause distress or place editors in financial hardship, even though those are two very real potential outcomes.
By using real-money language and action-driving tools, we can build stronger bonds of trust with those who are serious about working with us, and repel most of those who aren’t.
More resources
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors