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Here are 8 suggestions for you to consider when disclosing how you use AI in your editing business.
In this post
Read on to find out more about:
The impact of AI on editors and proofreaders
Editors and proofreaders are already feeling the effects of AI-assisted technologies on their work.
Why disclosure is important
Making time to understand whether AI is part of our editorial workflow because of the digital tools we use, and then disclosing that usage, ensures we model transparency for our clients and our community.
And when we do it, others feel inspired to do the same. That helps everyone make informed decisions based on the best information we have available at the moment. Being transparent also means we’re participating in a journey that fosters professional integrity and trust. Clients are more likely to feel confident in our recommendations when they see us being honest and understand which tools we’re using, why, and what the limitations and risks are. Perhaps, like me, your approach to disclosure is a work in progress, but I think we should all be accepting of that given how rapidly the landscape around us is changing, and how complex some of the issues are! Where to disclose your AI use
There’s no single best place. It’s up to you where you make your disclosure and how you link to it.
I work solely with indie authors and so I’ve chosen to include a section in the terms and conditions that make up my contract of services agreement. That’s because this is the text that clients are required to read prior to making a booking. However, some of you might prefer to create a separate disclosure page and link to it from the T&Cs or your contracts. If modelling transparency is important to you, it’s less about where your disclosure is than that it exists in the first place. What to include in your disclosure
I’ve suggested 8 things to consider for inclusion in your disclosure, though admittedly these are based on my particular needs.
If I’ve omitted anything that you think would be critical to your editorial business, please do leave a comment! Tip 1. Why you use digital tools
This is an opportunity to state at the outset not just that you are using digital tools – and most of us are using them, though not all of them are AI-assisted – but also why.
It shows clients that you’re able to use technology responsibly, and that the goal is to maintain professional standards for their benefit. Example from my T&Cs
To enhance the quality, accuracy, consistency and efficiency of my editing service, I use digital tools that may have AI-assisted technologies running in the background (even if I'm not actively using them).
Reason
I want to clients to know that I’m not working in the Stone Age, and that my use of digital tools will help give them a better result. Tip 2. Who’s accountable for the output
This is an opportunity to make it clear that regardless of a machine’s involvement in your editing process, it’s you, the editor, who’s accountable and responsible for what’s delivered.
Here you’re focusing on your human value – the sense and sensibility you bring to your work for them, even though you’re using tools to help with some of the mundane heavy-lifting. Example from my T&Cs
All outputs are reviewed and refined by me, a qualified human editor, before delivery to ensure quality and contextual accuracy. Software and AI tools are used strictly to support my human editing process and do not replace my human judgement or professional oversight.
Reason
I want to draw attention to the fact that a human is in control of the process at all times. Tip 3. Your use of generative AI in the editing process
Here’s where you can make a clear statement about your specific use of generative AI. It can help to clarify this because not all AI is the same.
Some editors use AI-assisted tools such as ChatGPT, Draftsmith or ProWritingAid for generative support with revisions; some might not. Being transparent helps clients understand what your particular skills are and who or what is doing the work. Example from my T&Cs
Reason
I pride myself on my stylistic line editing skills and want clients to know that I, a human editor, have the capability to do this nuanced and emotional work. Tip 4. Which specific digital tools you use
This is where you can name the digital tools you use as part of your workflow, their specific purpose and whether they’re licenced.
You don’t have to limit yourself to AI-assisted technologies. You can include word-processing and spreadsheet software, PDF tools, consistency checkers, macros, search engines and file management tools associated with your editorial process. Including a full list also means that when you seek a client’s consent (see #8 below), they know exactly which tools they’re consenting to the use of. 3 examples from my T&Cs
Reason
I want my clients to see the breadth of digital tools I use to support my service and to understand that I’m not using any old junk off the internet – where required, I have licences from reputable providers. Tip 5. Where the tools are hosted
This is an opportunity to tell clients whether each of your tools is hosted locally, in the cloud or elsewhere. Bear in mind the following:
If you’ve committed not to uploading client material to third-party sites, creating this information is a good way of double checking that you’re not in breach of that commitment. 3 examples from my T&Cs
Reason
By stating where my digital tools are hosted, I hope my clients will trust that I’m handling their data honestly and responsibly, but within the realms of what’s on offer and practical for my business. Tip 6. AI’s presence and interaction
Some of the editing tools we use may have AI operating in the background, and even though we’re not using it, it’s still ‘reading’ text and transmitting data.
This is an opportunity to be honest about that, and for your client to make informed decisions about whether they’re okay with it. Examples from my T&Cs
Reason
Compare the italic text in the above examples. I think it’s really important that I’m up front about the fact that Copilot is still sniffing around in the background when I’m using Microsoft Word, even though I’m not actively using the AI to suggest textual edits. This is especially the case given that I’m not yet ready to turn the function off because I’m still exploring how it might aid efficiency with non-client work that I do in Word. Tip 7. Use of open and closed systems
You can also disclose whether any AI systems you use are open or closed, or what your position is on this matter.
Providing this information shows clients that you understand the differences and are making responsible decisions. Example from my T&Cs
Reason
I’m still learning about AI, and the list of editorial digital tools I’m using in 2025 may look different in two years’ time. However, I want my clients to be confident that I’m using them in a way that respects their privacy to the best of my ability. Tip 8. Seeking client consent
If your disclosure is part of your T&Cs and contract agreement, seeking consent is an opportunity for informed transparency, legal compliance and professional integrity.
It’s protects you both, and you’re being clear that there’s choice involved here. You’ve chosen to use a set of tools, but they can decide whether they’re okay with that … before the project’s underway rather than halfway into it, when it's too late. Example from my T&Cs
Reason
I want my clients to formally agree that they’re happy for me to use the tools I’ve listed. That way, it’s part of our service agreement from the get-go and avoids misunderstandings. Can I copy your disclosure statement?
What's right for me, my business and my clients may be partially or completely unsuitable for you and yours, so I wouldn't recommend this.
Instead, think about the tips that I and others in our community have offered up for consideration, and then use that information as a jumping-off point ... something to help you craft your own AI and digital tools disclosure statement – one that's perfect for your business. However, if you're a member of the Chartered Institute of Editing and Proofreading (CIEP), you can access a free webinar called Policy Foundations for Editorial Professionals. This includes prompt-based guidelines to help you build your own disclosure. Go to the on-demand area of the knowledge hub to access the webinar and companion pack. Summing up
I hope you've found these tips useful. Creating a transparent digital tools and AI disclosure statement helps all of us professional editors to build trust, demonstrate ethical practice and ensure we're complying with privacy regulations.
It clarifies how our clients' materials are going to be handled, distinguishes our human expertise from automated support, and protects both parties by obtaining informed consent. And, ultimately, by doing this, we're showing our clients that we're professionals who are committed to treating their data and creative work responsibly and securely. Want to take a look at how I've approached the disclosure of digital tools in my terms and conditions? The button below will take you there – scroll down to section 14. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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Learn about editorial foundations, growth, sustainability, legacy and marketing with this 5-book series from the hosts of The Editing Podcast.
Fancy reading some of the core takeaways from The Editing Podcast? Notes from the Podcast is a brand-new book series that focuses on five core areas of editorial business development.
What’s in the series?
Currently there are five books in the Notes from the Podcast series, all focusing on what Denise and I like gassing about the most – running, growing, sustaining and marketing an editing and proofreading business.
Is the content identical to The Editing Podcast?
So, yes, it’s still our podcast content, but it’s been repurposed and reworked so that it’s book-fit.
How long did it take to create the books?
The answer to how long it took depends on your starting point.
We didn’t write the books from scratch – creating them required having the podcast scripts in the first place. And since we broadcast our first episode in 2019, so you could say the journey started then.
We’ve spent the past three years doing the following to bring these books to life:
Did you use AI?
The biggest challenge we faced in making this project viable was untangling well over 100,000 scripted words spread across 145 separate episodes broadcast in no particular order.
Some of that scripted content was irrelevant because it:
Even the content that was relevant wasn’t located only in episodes whose titles made it obvious. It was all over the place! Plus, it was scripted in a way that suited voices rather than books.
Unless we got help.
We talked over the options and wondered if AI might come to the rescue. We decided to give it the task of:
That was a learning curve because it took a while to work out how give it the right prompts to ensure it gave us exactly what we wanted. However, it was time well spent because we got there in the end! So, yes, we did use AI – to analyse our own content and extract the chunks of it that we wanted. From then on, it was up to us to do what we do best … What Louise and Denise did
With that done, we turned to:
And finally, we published! Why bother publishing when people can listen?
Denise and I have always been massive advocates for repurposing valuable content because it respects the fact that people like to get their information in different ways.
Some like to listen. Some like to watch. And some like to read.
How to buy the books
All five books are available through Amazon.
Still want to listen? Head over to The Editing Podcast!
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Thinking of creating and delivering online editorial training courses? Here’s some guidance for editors and proofreaders on the tax implications and choosing a platform.
What’s in this post …
Your online course and the tax authority in your own jurisdiction
When we sell online training courses, we’re entering the world of digital services and products, as defined by the various tax authorities in jurisdictions all over the planet.
Not all digital services and products are created equally, and the rules in one country might be different in another. Even within a single jurisdiction, your online course might be treated differently in terms of tax depending on how you provide access to the content. 5 examples of online courses Imagine you’re me, a UK resident offering online training courses. Here’s what the classifications might look like (though I’m no tax specialist) in 2022.
Example 1
What the online editing training course comprises
Example 2 What the online editing training course comprises
Example 3 What the online editing training course comprises
Example 4 What the online editing training course comprises
Example 5 What the online editing training course comprises
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? 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! 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. Summing up: What to consider
Related resources
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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
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. 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. 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. 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! 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. 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. 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! More marketing resources
Check out these additional resources about building a sustainable editorial business:
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Is your editing or proofreading business new? Here are two mindset tips that will help you frame every action you take in terms of multiple goals, and stay positive while you’re waiting for the fruits of your labour to ripen.
Linear vs holistic thinking: Beyond the to-do list
I love a list! Recording the stuff I need to do helps me organize my thoughts. It also steers me away from procrastination and towards action.
What follows is therefore by no means a call for the abandonment of the to-do list. New starters and old hands alike can benefit from a list of actionable points. Caution is required though. The to-do list does have the potential to encourage linear thinking, and this can be a hindrance when it comes to the business of editing and proofreading. Linear thinking can lead us down a road of focusing too heavily on one part of our business in the belief that if we get X just right, everything else will fall into place, or that X is more important than Y and therefore must be completed in full before Y is considered. Holistic thinking, however, recognizes that X impacts on Y, which impacts on Z, and that – together – X, Y and Z drive success. Let’s look at what this means for our business practices. A simplified example
Shami is in the process of setting up an editing business. She’s completed a comprehensive training course followed by mentoring. She’s confident in her skills and believes she’s fit for purpose. And she is – from a technical point of view.
However, there’s a potential problem. She’s been so focused on her training that she’s not spent any time considering how she’ll make herself visible to paying clients. Training was at the top of her list – and while this is certainly no bad thing to be at the top of any freelance business owner’s list, focusing on it alone won’t bring in paying work. Shami's business to-do list Shami’s to-do list looks like this:
Shami could do one thing at a time, and tick all those jobs off as she goes. But might she benefit from looking at her editing business in a different way?
An alternative view: The business wheel
What if, instead, Shami visualized her business as a wheel rather than a list?
The list and the wheel address the same issues, but the wheel helps Shami to visualize her business holistically; it shows her the interconnectedness of the various elements.
Let’s consider her training in relation to other aspects of business development.
Training and visibility
Training and the learning centre
Training and client acquisition
Training and membership upgrades
Training and credibility
Training and network-building
Other ways to use the business-wheel mindset
I could go on, but you get the point. Training isn’t something you do before marketing. Rather, it’s connected to marketing. They are but two spokes on a wheel, and they link the hub (the business) to the rim (clients and colleagues).
Training gives substance to the marketing message. Marketing generates visibility and, therefore, new clients. New clients become regular clients because of the standards embedded by training. And up and down the spokes and round the rim we go. We might carry out a similar exercise when considering the links between pricing, an accounting schedule and stationery; or resource creation and business promotion; or brand awareness, accounting and stationery. Taking the long view
Developing a successful editing business doesn’t happen overnight. No matter how good our skills, how creative our marketing, how professional our practice, it takes time.
And, even then, we can’t sit on our heels because our industry, broad as it is, is always changing.
Moving from entitlement to investment
This means that, as business owners, we need to be keeping our ear to the ground so that change is something we embrace, not resent, and something we view as providing opportunity, not marginalization.
When we own our own businesses, we don’t have the luxury of spending time on blaming a lack of success on others who are now doing things in ways that don’t suit us. When we own our own businesses, we’re not entitled to be paid X by a publisher whose profit margins are being squeezed its own customers. Nor are we entitled to work on paper because that’s the way we prefer it. For example, most independent authors want us to work in Word or on PDF. Instead, we have to invest in what makes us interesting and discoverable to those we want to work for and who will pay us what we want/need to earn if our businesses are to be profitable. Whether that means acquiring new skills, learning how to use new tools, changing the way we do our tax returns, targeting new client types, replacing old equipment, or testing and evaluating new and innovative marketing activities that increase customer engagement, the responsibility lies with us, and us alone. Time and hard work are part of the deal
We might not see the fruits of our labour for months. None of us can say how long it will take for an individual’s marketing strategy to put them on pages 1–3 of Google. And that’s okay. It’s normal for it not to happen overnight.
None of us can predict whether a favourite publisher client will merge with another press and freeze its freelance rates. None of us can know whether the skill we learned in 2008 will still be relevant in 2025. When I first started proofreading back in 2006, I was working almost exclusively on paper. At the time of writing in 2020, I edit exclusively in Word. What we can be sure of is that there are no shortcuts – building an editorial business takes time, effort, and not a little courage because there will be times when we’re pushed out of our comfort zone. Taking the short view leads to disappointment, frustration and stagnancy:
Embracing that longer timeframe means we’re less likely to feel deflated when our hard work doesn’t give us immediate results. Instead we could do the following:
Summing up
If you’re the type of person who’s capable of looking at a list without feeling compelled to move through it only from top to bottom, go for it. List away!
However, if you think that your to-do list is leading you into a mode of thinking that ignores the connections between the various aspects of running your business, try redrawing it as a wheel. It may be just the ticket to seeing your editing or proofreading business in a whole new interconnected light – and focusing your energy accordingly. And it's okay to set a realistic time frame for getting your editorial business to where you want it to be. The hard work we put in at the beginning doesn’t necessarily generate immediate results. Taking the long view means we give our efforts space to breathe. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Find out more about the 7 goals we should achieve with every editorial report we write for our authors.
The report goals in brief
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.
Goals that benefit the editor
Goals that benefit the client
Goal 1: Create the report efficiently
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. 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. 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. 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. 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. 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. 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.
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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.
Helping them before they get in touch
I provide information about my rates and availability, which any potential client can access via my Contact page, BEFORE we start talking.
That means we're on the same page in terms of those two core deliverables right from the get-go. It saves me time, and it saves the author time. 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. 
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:
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. 
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.
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 free stuff in my resource library. You don’t even have to hand over your email address to access them – just click and grab. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
If you're a new proofreader or editor, having a global mindset in regard to choosing reference resources is essential for maximizing editorial business opportunities.
What does your client want?
Like many of my fellow editorial business owners, I’m often approached by potential new entrants to the field who want advice about getting started. One of the most oft-asked questions is: ‘Which reference resources – style guides, dictionaries and the like – do I need?'
Bear in mind that anyone you seek guidance from in regard to best-fit resources must respect the fact that you might not be from the same place as them, speak like them, have the same potential clients as them, and spell colour/color like they do, or as a client brief asks them to. Centrism, whether from the United Kingdom, the United States, or elsewhere in the world, is useless to you as a new entrant because it’s based on false assumptions about you and your potential clients. Social science ‘styles’ from an international perspective
Here’s a wee case fictive case study. Imagine a new entrant to the editing profession tells me the following:
Based on this, I suggest that social science publishers and academics would be good initial target markets. Does my new starter’s location affect their choice of potential publishers clients? It’s not clear cut. The online world has knocked down those geographical boundaries; you don’t have to spend a fortune to send page proofs to someone hundreds of miles away; you can email them to someone thousands of miles away for the price of an Internet connection. And how does my new starter’s location in the United States more broadly affect what they need to learn in terms of styles and language preferences? Again, it’s not clear cut. I see The Chicago Manual of Style (CMOS) recommended as the sole must-have resource so often in online discussions about editorial work that I worry that new entrants may fall into the trap of thinking that this ‘bible’ alone will tell them everything they need to know. Super though it is (I love chunks of it for fiction editing), CMOS is not the be all and end all of style guides, because it depends on what a client wants, the subject matter and country-specific language preferences. The California-based publisher SAGE Publications asks that its copyeditors have a thorough knowledge of both the CMOS and the Publication Manual of the American Psychological Association (APA). But note that these are core requirements for SAGE’s US book division. If you want to freelance for the US journal division, you’ll need to add the AMA Manual of Style and The CSE Manual for Authors, Editors, and Publishers to your reading list. (Bear in mind, too, that not all publishers want us to use the most current version of these manuals.) But why stop there? If my new starter can get work with SAGE in California, might it not be sensible to tap its sister office in London? But in that case, our newbie will also need familiarity with New Hart’s Rules, The Oxford Dictionary for Writers and Editors, and Butcher’s Copyediting. Or what if our new starter decides to target social science academics who are based in the US? They'll need to ask:
Actually, it’s just as likely that an eminent Boston-based scholar will submit to the European Journal of Political Research as to the American Political Science Review, Scandinavian Political Studies, or the Canadian Journal of Political Science. This will impact on what our newbie needs to know. For example:
Location doesn’t determine readership
Where our clients live doesn’t determine where they publish or the location of their intended readership.
Given that the editorial freelancing market is competitive, it makes sense to exploit the most obvious opportunities. In the Internet Age, the physical barriers are gone. The only barrier to exploring an international work stream is an inability to appreciate that language conventions and preferences differ according to client (whether that be a particular publisher, a particular independent author, a particular journal), not according to one, and only one, globally recognized set of rules. Honestly – such a thing doesn’t exist; it doesn’t even exist within many countries. Diversity of geography, language, and preferences
It’s not so much about where we live, but where our clients live and what preferences they have.
If you're a new entrant to the field and are wondering what you need to know, instead of listening to my preferences, familiarize yourself with a number of appropriate resources depending on what your clients want. Perhaps it’s CMOS; perhaps it’s not. And even if it is, ONLY knowing this could mean you're seriously restricting the base of clients for whom you can work, the types of material you can work on, and the geographical locations you can explore. So try the following:
If your world revolves around CMOS, it’s possibly a smaller world than it needs to be. And if your world is smaller than it needs to be, so are the opportunities you're exploring in a market that’s already very competitive. One other item to note. CMOS, CSE, APA, AMA, and the like are style guides; they give you guidance on whether, for example, to close up or hyphenate a compound adjective. They won't necessarily give you extensive guidance on how a word is being used, and whether that usage is considered standard, and in which community. Usage manuals, which give that kind of information, are as important as style guides. Using a style guide or a usage manual alone is an invitation to disaster. Out with borders and in with flexibility
When you’re the owner of an editorial business you need to learn what your clients want you to learn, whether it’s a manual published by Chicago or Oxford, a house brief designed by a team of publisher project managers, a detailed set of guidelines issued by a European NGO, or a short brief issued by an independent author of fiction.
I encourage you to think broadly, globally, and flexibly. If someone tries to guide to towards only one set of ‘rules’, at best their advice will restrict you; at worst it will be just plain wrong or inappropriate. There is, alas, no simple answer to the question of which resources are best. Instead, careful thought and planning centred around client- and skill-focused research is a good first step. That way, you’ll learn for yourself what resources, tools, and knowledge bases are suitable for you, your potential market, and your particular business model. Language usage, styles, and preferences differ – and that’s okay. Don’t let anyone tell you that’s not the case! About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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.’ 2. Make changes when necessary
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.
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.
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.
‘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. 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:
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?
Example 1
Pattern:
Example 2
Pattern:
Example 3
Pattern:
Focus on the goal
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 social media/discussion group time Track how much time you spend on social media or in discussion forums 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
2. Schedule all tasks
Schedule all the stuff you need to do, 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.
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.
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:
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 resources 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. Further reading
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
If you’re struggling to decide what to call your new editing or proofreading business, here’s a 6-step framework to set you on the right path.
Your business name is part of your brand
Deciding what to call your editing or proofreading business is part of the BRANDING process and needs careful consideration. Follow these steps to work out what’s right for you.
Step 1: Brainstorm a list of possible business names
Let your imagination fly. Put your silly hat on. Then your serious one. Then your smarty-pants one. Anything goes at this point. This is all about you and what floats your boat. There’s no wrong or right – just ideas.
For demonstration, let’s imagine a new proofreader called Basil Rhoueny. Basil is trying to decide on a business name and comes up with the following ideas: 1. Basil Rhoueny | Academic Proofreading Services 2. Basil Rhoueny Editorial 3. Bulletproof Editorial 4. Comma Sutra 5. Full-proof Editorial Services 6. Norfolk Editorial 7. Perfect Prose 8. Responsible Editing Step 2: Identify target clients
The next step is for Basil to identify his target clients. If he doesn’t know who he wants to work for, he can’t create a message that compels them – via his business name, his mission statement, his elevator pitch, his web copy, or any other marketing materials.
And if he doesn’t have a compelling message, why would anyone choose him over any one of the tens of thousands of colleagues who are also offer editing services? ‘I’ll edit and proofread anything for anyone’ isn’t a standout proposition. Basil needs to do better. Even if an editor is prepared to be something of a generalist, I recommend talking like a specialist when communicating with different client groups. On our websites, that means giving visitors signals so that they can navigate to specialist messaging on different pages that focus on solving group-specific problems. Some people know who they want to work for right from the get-go. Some have no clue. Some think they do, but seven years ahead find that they’ve completely shifted their client base. We’ll deal with that issue in Step 6. For now, let’s imagine that Basil thinks his editorial training, educational background and former career make him best suited to the following client groups:
Identifying these groups will help him with Steps 3 and 4. Step 3: Identify core brand values
A brand can be loosely defined as what others think about us – external perceptions. A brand identity is the distinctive business persona we present that nudges target clients to notice the things that we want them to notice. It’s what allows us to influence those external perceptions.
Brand values are the essence of our brand identity. They represent the kind of editorial pro we want to be seen as – the things we stand for, what we’re passionate about, what makes us tick, why we’re different. Our business name, photographs, colour palette, web copy and marketing materials should reflect our brand values so that the clients we’d most love to work with will most love to work with us. It’s no small thing to develop a brand identity. If you need help, I have an online course called Branding for Business Growth that can help you develop an emotion-based business brand identity. Let’s imagine that Basil has identified the following brand values that he wishes to convey at every touchpoint of his business:
Identifying these brand values will help him with Step 5. Step 4: Serve the client
In this step, Basil revisits his list of business-name ideas and considers whether they’re appropriate for his target client groups: academic publishers, students and independent academics.
1. Basil Rhoueny | Academic Proofreading Services 2. Basil Rhoueny Editorial 3. Bulletproof Editorial 4. Comma Sutra 5. Full-proof Editorial Services 6. Norfolk Editorial 7. Perfect Prose 8. Responsible Editing He asks himself the following questions:
Names (1) , (2) and (8) best reflect exactly what he’s offering. Names (3), (5) and (6) are next in line, though they’re less specific. Name (4) alludes to sentence-level editing work, and some will think it amusing. However, Basil wonders whether some of his non-fluent English-speaking clients will get the joke and bypass him. Name (5) is a problem – there’s an existing established business called Full Proof | Professional Proofreading Solutions. Names (4) and (7) give him cause for concern regarding their searchability. It’s likely that the words ‘proofreading’ or ‘editing’ or ‘editorial’ will be searched for by potential clients. It’s far less likely that someone will search for ‘comma sutra’ or ‘perfect prose’ if they need proofreading assistance, though they are distinctive. Name (6), however, might be great for being found in the search engines by local clients. Basil decides to remove Comma Sutra, Full-proof Editorial Services, and Perfect Prose from the list of contenders. Now he turns to the branding issue. Step 5: Serve the brand
In this step, Basil revisits his list of business-name ideas and considers whether they’re good brand practice. His remaining names are:
1. Basil Rhoueny | Academic Proofreading Services 2. Basil Rhoueny Editorial 3. Bulletproof Editorial 6. Norfolk Editorial 8. Responsible Editing He asks himself the following questions:
Basil has an unusual name. If he’d been called John Smith, he might have been easy to confuse with other editors called John Smith, at least in the West. However, either of his remaining business names would work. There is, however, a good chance that his name might be misspelled. Is this something he needs to worry about if people are searching for him by name? This could be an issue if he’s referring someone to his website by phone, or if a word-of-mouth lead is trying to find him. Here’s a test. Type ‘louise harby editor’ or ‘louis hornby proofreader’ into the search engines. Can you find me? I can find me! I’m not convinced that tricky-to-spell names are as problematic as we might think. Back to Basil. Name (3) is at odds with the sentiment of BV-Green Editor. This brand value seeks to nudge potential clients towards thinking of Basil as compassionate, respectful, broad-minded, ethical, warm … someone who can see the bigger picture. The word ‘bullet’ might bring to mind thoughts of violence, death, harm and brutality. It’s potentially a negative nudge rather than one that evokes positivity. Name (6), while potentially clickbaity for local searches, doesn’t sit so well with BV-Globalist. Basil would be happy to work with local clients, but he’s not sure he can build a sustainable business on this alone. Name (8) has a definite though subtle nod to BV-Green Editor. He elects to remove Bulletproof Editorial and Norfolk Editorial from the list of contenders. Step 6: Think ahead but don’t get bogged down
Can any of us be absolutely sure that what we want to do now is what we will want to do in the years ahead? Choosing a business name requires us to think ahead, but also to be true to who we are and what we’re offering in the present time.
In case you didn’t spot it, Basil’s name is an anagram of mine. When I set up my business in 2005, I was a dedicated proofreader who specialized in working for social-science publishers. If you’d told me back then that by 2016 I’d be specializing in line- and copyediting for indie fiction authors, I’d have been a tad surprised. But that’s exactly what happened. My original business name was Louise Harnby | Proofreader. My URL was and still is: www.louiseharnbyproofreader.com. My business name now is Louise Harnby | Proofreader & Copyeditor. It wasn’t actually a big deal to add an ampersand and the word ‘copyeditor’ into my business name and didn’t affect my findability in the search engines. Would it have if I’d changed it to Louise Harnby | Fiction Editor, or Fabulous Fiction Editing, or something else? Possibly, but Google Search is a tricky beast to master and shifts the goalposts often in a bid to thwart those who’d use black-hat SEO techniques rather than genuine attempts to be interesting and discoverable online. Basil is left with choosing between the following:
There are good arguments for the SEO-friendliness of the first two, and the flexibility of the third. My view is that any would work because they are true to his business’s brand identity in different ways. What’s right for you?
Basil’s brand identity and your brand identity will not be the same because you and Basil are individuals, each with your own businesses, ideal clients, goals, hopes, dreams and passions. The decisions you make will therefore be different to the one Basil makes. That’s fine.
Will there be a perfect solution? Unlikely. There will be choices to be made.
What’s important is that you choose a business name that you feel comfortable with: one that reflects your brand identity and nudges your ideal clients towards an awareness of the kind of editor you are and why you’ll be a great fit with them; one that alludes to what you do. Here are just a few of my favourites:
It’s likely your choice will not be clear cut. Try not to get bogged down by that. Business names alone will not make you visible or discoverable. The compromises you make can be offset by other business-promotion activities that strengthen your online presence. Happy naming! About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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 explores 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. 
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. 
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. 
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. 
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.
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 resourcesAbout Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Here’s how to build a knockout editing portfolio page even if you’re relatively new to the editing or proofreading field.
Bring your portfolio page to life
Deciding what to include, what to omit, and how to lay it out so that it grabs a potential client’s attention can be tricky. If your business is new you might not have a lot to shout about. If you’re established, you might have too much.
One thing’s for sure, though – an editing site without a visible portfolio is at a disadvantage. It’s the next best thing to the social proof of a testimonial because it demonstrates that you practise what you preach. Using stories is a method every editor can use to bring their portfolio page to life. Moving from mechanics to emotions
Stories are lovely additions to any portfolio page because they give us the opportunity to take our potential clients behind the scenes ... to show them how we helped and how the project made us feel.
That’s important because it shifts the attention away from mechanics and towards emotion. Those of us who work with non-publisher clients such as independent authors, academics, businesses and students are asking our clients to take a big leap ... to put their project in the hands of someone they’ve never met, and pay for the privilege. It’s a huge ask and takes not a little courage for some. Think about it from the client’s point of view:
These clients will be looking for an editor they can trust, someone who gets them, understands what their problems are and can solve them without making a song and dance about it. Trust is something that is usually earned over time – think about your friendships and partnerships. Editors and their clients don’t always have the luxury of time. What’s needed is something that will fast-track the growth of trust. Word-of-mouth recommendations are fantastic for this. Testimonials from named clients are also excellent social proof. Portfolios work in the same way. The problem is, they can be boring. The list: boring but powerful
A partial screenshot of my boring but useful list!
I’m not going to suggest you dump your long lists. Boring though they may be, I believe there’s power in them, and for two reasons:
So, if you want to keep your long lists, do so. I have. Make them more accessible and aesthetically pleasing by breaking them into subjects or genres. Add thumbnails of book jackets, journal covers or client logos (subject to securing permission from the client). Use a carousel or slideshow plug-in to show off multiple images without cluttering up the page. 
Carousel of thumbnail images with scroll buttons
Adding pizzazz with stories
Now it’s time to add the wow factor. Stories take the portfolio one stage further. They’re basically case studies of editing and proofreading in practice. Can you recognize yourself in the following list?
Stories work for all three groups of editors:
What to include
It’s up to you what you include but consider the following:
Example 1
I’m a crime fiction and thriller editor who works for a lot of first-time novelists. Many haven’t worked with an editor and don’t know what to expect. Some feel anxious and exposed. My two portfolio stories have a friendly, informal tone. One of my case studies focuses on a self-publishing series author whose fictional world I’ve become close to. By showing how we work together and how his writing makes me feel, I demonstrate my advocacy for self-publishing and the thrill I get from working with indie authors, the emotional connection I make with the characters, and the delight I experience in seeing writers hone their craft. 
Example 2
If you work with corporates, your stories might have a reassuring, professional tone that conveys confidence and pragmatism. Your case studies could feature clients whose projects required the management of privacy and confidentiality concerns. You could use the space to talk about the challenges you faced and the successes you and your clients achieved even though the projects were complex and demanding.
Example 3
If you work with publishers, you could create case studies that show how you managed tight deadlines, a controlled brief, and a detailed style guide. The stories could highlight some of the problems you and the publisher overcame, your enthusiasm for the subject area, the pride you felt on seeing the book published, knowing the part you’d played in its publication journey. Crafting stories about relationships
If your home page is all about the client, the portfolio page can be all about relationships. By crafting stories for our portfolios, we can invite potential clients onto the stage and let them experience – if only fleetingly – editing in action.
And because the case studies are real, they’re a powerful tool for knocking down barriers to trust. They show a client how we might help them, just as we’ve helped others. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
If you don't like marketing, but you do like editing and proofreading, here's how you can learn to do your job better and market yourself at the same time.
Three questions for you to consider
Here are three questions:
If the answer to all three is yes, you’re in marketing heaven! I’m not kidding you. If you love learning about how to do your job better, and are prepared to make time in your business schedule for this continued professional development (CPD), you have at your fingertips all the marketing tools you need. Have you learned everything?
Here’s another question:
Do you think there comes a point when you’ve learned all there is to learn about being a better editor? If you answered no to that, you’re in even better shape from a marketing point of view because you will never run out of ideas to connect with your target client. Do you value becoming a better editor?
And here’s another question:
Do you think you have no time in your schedule to learn how to become a better editor? If you answered yes, you need to make time. Every editor needs to continue learning. Our business isn’t static. New tools, resources and methods of working are a feature of our business landscape. Language use changes as society’s values shift. Markets expand and retract, which requires a response from us in terms of how we make ourselves visible. If you answered no, that’s great news because it means you have time for marketing. I know – you don’t like marketing. But that’s fine because we’re not calling it marketing. We’re calling it CPD, which you do like! Making time for business
Everyone who knows me knows I love marketing my editing business. Lucky me – it’s much easier to do something necessary when you enjoy it.
What a lot of people don’t get is how I make time for it and how I get myself in the mindset to devote that time to it. I don’t have a problem with calling it marketing. But the truth is that so much of the marketing I do is not about marketing. It’s about communicating what I’ve researched and learned. I love line and copyediting crime fiction. I think I’m really good at it. But I don’t think I’ve learned everything there is to learn. Not for a single minute. That leaves me with stuff to do. I have to learn. So off I go to various national editorial societies’ websites. I head for their training pages. I look for courses that will teach me how to be a better crime-fiction editor. There aren’t any. I turn to Google. Plenty of help for writers, but not specifically for editors. That’s fine. And so here’s what I’ve done: read books about crime writing, and attended workshops, author readings, and crime-writing festivals (I live a stone’s throw away from the National Centre for Writing and the annual Noirwich festival). And I’ve continued to read a ton of crime fiction. And to help me digest what I’ve learned, I’ve taken notes along the way. It’s what I’ve done all my life when I’m learning – O levels (as they were called in my day), A levels, my degree … notes, notes and more notes. How much time has it taken? Honestly, I don’t know. I’ve been having too much fun. I love reading; I don’t count the hours I spend doing it. How long did the author event last? I’ve no clue. My husband and I had dinner afterwards though, so it was like a date. And it would have been rude to look at my watch. Is creating a blog article marketing?
Some time ago I wrote a blog post about planning when writing crime fiction. I couldn’t churn out 2,000 words just like that; I’m not the world’s authority on the subject.
So I referred to my notes from the event with a famous crime writer. Turns out the guy talked about planning, and told us about his and a fellow crime writer’s approach to the matter. Then I reread a chapter from a book on how to write crime fiction and found additional insights there. More notes. Then I I read 14 online articles about plotting and pantsing too. Yet more notes. And then I put all those notes together, which really helped me to order my thoughts. I created a draft. Redrafted. Edited it. Published it. Now it's on my blog and in my resource library. Some people might call it content marketing. And it is, because it helps beginner indie authors work out when they will attend to the structure of their crime fiction – either before they start writing, or after. From that point of view, it is useful, shareable, problem-solving content, which is a perfectly reasonable definition of content marketing. Or is creating a blog article CPD?
Let's look at it another way. I learned a lot of things I didn’t know before. I can use that knowledge to make me a better editor.
I took notes and drafted those notes into an article. This is no different to what I did at least once a week at university. I wasn’t marketing then; I was learning. What is different is that no one but my professor was interested in my article. That’s not the case for my planning piece. That article will help some self-publishers on their writing journey. A few might just decide to hire me to line or copyedit for them. It’s happened before. Maybe it will happen again tomorrow, or next month, or next year. I don’t know. It doesn’t matter – the article will stay on my site for as long as it’s relevant. Rethink the language of marketing
If the idea of marketing your business leaves you feeling overwhelmed, rethink the language you use to describe what’s required.
You probably don’t consider attending an editorial conference a marketing activity, even though it might lead to referrals. It’s more likely you think of it as a business development and networking opportunity. You probably don’t consider a training course to be marketing. It’s more likely you think of it as editorial education. You probably don’t consider reading a book about the craft of writing to be marketing. It’s more likely you consider it knowledge acquisition. So how about this?
Training, embedding knowledge, writing essays, publishing research, sharing subject knowledge. Smashing stuff. Nicely done. And between you and me, it’s great content marketing too. But, shh, let’s keep that quiet. I know you don’t like marketing. Make your marketing about your editing
If you don’t like marketing, maybe that’s because the kind of marketing you’re doing isn’t likeable. In that case, think about what you do like about running your business, and make those things the pivot for your marketing.
In other words, it doesn’t need to be about choosing between marketing your editing business and learning to be a better editor, but about the former being a consequence of the latter. Two birds. One stone. Me? I’m off to read the Harlan Coben. Just for fun, mind you! About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
If speaking in public gives you the heebie-jeebies, professional presenter Simon Raybould has some advice that will improve your performance and calm your nerves.
Over to Simon … 
A good presentation will change someone’s mind
You edit words for a living, right? It’s a cool job, I admit, and not one I could conceivably aspire to.
As someone once put it, 'Simon, being your proofreader must be like being Seán McGowan’s dentist.’ And yes, it’s true. She once sent me an email with the words ‘… first paragraph alone! Are you doing it on purpose? Are you trying to annoy me?’ But I think I have an even more cool option for you. Instead of editing words, why not edit minds? I’m not talking about some sci-fi concept – it’s what I do for a living. A good presentation will change someone’s mind ... and with it, their world. A good presentation is a form of telepathy – sending ideas from your mind to someone else’s. The upsides are awesome, but the downsides are pretty serious too:
But all is not lost – there are cures … or at least things that will help. Here are a few quick-to-master ideas and tools that will help you to present at conferences (or anywhere else) with confidence. Some are easy, some are harder, but all of them work. 1. The least popular tool – just doing it
Let’s start with the least popular option.
When I ask people why they want to be confident, I often receive answers such as ‘If I were confident I’d be able to XYZ.’ And that’s great – they have a specific thing in mind. What’s not so great is that they seem to think that confidence alone will mean they don’t have to invest time in doing XYZ. I’m going to be blunt … you can’t shortcut your way to confidence. Don’t try to get confident before you do something. You can only get confident by doing that thing. Think about how you learned to ride a bike. Did you look at it, thinking, Cool! What an awesome bike. As soon as I’m a confident cyclist I’ll hop right on and go for rides in the hills? Nope. What you did was sit on it, fall off, get back on, fall off, get back on … and so on. Presenting is like that. Of course, with bikes you have stabilizers (and parents) holding you up. Stick with the analogy for a moment and figure out how you can make presentations in safer ways and places – stabilizers, as it were. How about making presentations under the following conditions:
I’m sure you get the idea. To mix my movement metaphors … don’t run before you can walk. 2. Know what success looks like
We all know what could go wrong, right? People might laugh at us; we could fall off the stage; cold sweat might drip down our backs or melt our mascara.
And that’s the thing… we know what the bad things look like. But what about success? Not fainting on stage doesn’t count. Things like this count:
Define it. After all, if all you can identify is failure, that’s what you’ll concentrate on. But if you can define success, you stand a chance of concentrating on that instead. (Defining success also helps you to design your conference presentation more effectively. If you don’t know what you want to achieve, you’re more likely to omit core material.) 3. Sentence zero ... the breathing tool
When we’re scared, we breathe from the top of our lungs. Air comes out in a rush, making our voices sound thinner, breathier and – frankly – less authoritative.
Hold that thought in your head for a moment and think about this: Lots of people tell me that once they get going in a presentation, things get better. So the important thing is to start well, right? Right. If you can control your breathing at the start, things are going to go better. Sentence zero is a handy tool for doing just that. Get the very first sentence of your presentation straight in your head. Be specific. For now, let’s pretend that Sentence One is ‘Hello, my name is Simon.’ Now think of a sentence that could go before it, finishing with the word ‘and’. For now, let’s pretend it’s 'Goodness, what a hideous lime green that back wall is, and …' We’ll call this Sentence Zero. Now, as you start your presentation, say Sentence Zero+Sentence One in one breath, but only use your voice for Sentence One. What that means is that your audience only hears Sentence One but you’ve already used the high-pressure, anxiety-sounding breath from the top of your lungs on the silent Sentence Zero.
4. Ditch the script
Writing is difficult. That’s why authors need you, right? So what on earth makes you think you can write a script for your presentation?
If it was that easy, we’d all be writing massively successful West End and Broadway plays. Don’t try. Instead, define your structure.
Then, when you stand up to present, use the keywords as markers around which you improvise. Trust me, you’ll sound more natural and be much, much more interesting. Plus, you won’t spend time worrying about the massive confidence-drainer that is 'Did I get the wording absolutely right according to the script?' As an aside, the answer is no. No one does unless they’re RSC-grade actors. What you’ll lose in the occasional fumble you’ll more than gain in sounding more relaxed and natural. Plus, you won’t commit the ultimate presenter’s sin of using Latin words. It’s an over-simplification but we’re more likely write using the Latin-orientated words (‘commence’ rather than ‘start’) and speak using the Saxon versions (‘guts’ rather than ‘intestines’). Ditching the script means you don’t speak like a textbook. 5. Wasp-swatting: The power of the list
A while ago, my team and I sat down for a meeting. Pizza and wine might have been involved. One of the things we asked each other was what made us nervous.
It turned out that about one-third of our conference nerves came not from the presentation but from the logistics that went with it.
Logisitical/trivial problems are like wasps. One seems manageable. A swarm’s a different matter. Each issue might be negligible on its own, but all of them together have a noticeable impact. Similarly, each on its own is easily dealt with, but taken together the problem loses its perspective. The solution is simple: a list. At least two weeks in advance of the conference, create a simple checklist – one line for every issue. For example, I don’t have a 'cables' tick box on my list; I have entry for the power cable, another for the VGA adaptor, and another for the HDMI adaptor, and so on. Before you go live, check the list. That way, when it’s time to perform, you can do so confident that you’ve not forgotten anything. It also frees up the parts of your brain you’d otherwise have wasted on trying to remember things. 6. Practice and rehearsal
This is so fundamental it probably shouldn't come last. It also needs the fewest words.
You will perform better if you go over your presentation and practise improvising using your keywords. Wrapping up
There’s a lot more you can do to conquer your nerves – ideas range from breathing techniques to standing in certain positions – but these are good starting points. So go change the world and edit people’s heads!
Want to know more?
Simon's a presentations expert and productivity guru. If you want to get in touch beforehand, here's what you need:
If we’re serious about setting up an editing and proofreading business, free resources will get us so far, but only so far.
What free is good for
Free is brilliant when we’re starting out, particularly in the following circumstances:
Free is equally great when we’re experienced but looking to shift the goalposts:
Free stuff is about discovery, so that when the time comes to reach into the coffers we’re spending money in the right place. Free helps us to turn expense into investment. What free is not good for
Free isn’t great in the long term because the offering usually comes with limitations. It will give us a glimpse, enough to help us on the journey. But that’s all.
The reason free has its limitations is because even creating free stuff and offering free help takes time, and time is money. Imagine the following scenarios:
CASE STUDY 1
Jane wants to offer developmental editing but has no experience. She does some research and finds the following:
CASE STUDY 2
Jack has identified a skills gap. He’s a great editor but a poor marketer and is dissatisfied with the rates he’s earning from his existing client base. Currently, he works with project-management agencies who find publisher work for him. And those publishers find authors for the agency. There’s a cost to that author-acquisition work – those agencies and publishers take a cut of the fee at each stage because they have to invest their own time and expertise in making themselves visible. It's that visibility that puts the editing work on Jack's desk. He starts a discussion in a large editorial Facebook group about his concerns and is offered the following:
What tasters teach us ... and what they don't
In both cases, the freebies are of exceptionally high quality and Jane and Jack learn a ton from them. Creating that content must have taken time and effort.
However, free articles, blog posts and webinars are tasters. Those kinds of things help us understand the lie of the land, and give us a deeper sense of what more we need to learn. What they won’t do is teach us everything we need to know. We can’t learn how to become professional developmental editors from those resources alone ... any more than we could learn to cut hair or wire a house to acceptable standards without proper training and guidance. Same goes for marketing. Take me, for example. It’s not luck and Google that made me a strong marketer. I pay a monthly sub to learn how to do it well from professional marketers, and invest time in implementing the strategies I’m learning. If Jane wants to become a professional developmental editor and Jack wants to become a strong editorial marketer, both need to take all those freebies and use them to make informed decisions about the money they will invest to turn their investigations into reality. Examples might include:
Free will help Jane and Jack make decisions. Investment will make them fit for professional purpose. A better money mindset
It’s perfectly okay to decide that you can’t afford to run a professional editorial business ... but only as long as you decide not to run a professional editorial business.
No one on the planet owns a business that doesn’t have operating costs. Business owners have to take responsibility for training, equipment, invoicing, money transfer, software, marketing, client acquisition, office space, pension provision, taxation responsibilities, and more. It’s true that the international editorial community is incredibly generous, which means that free resources and guidance abound on multiple platforms. However, those who are serious about running an editorial business know they have to avoid hobbyist and employee mindsets.
The shoe on the other foot – when you’re asked for a freebie
We can’t have everything we want when we want it. We have to make choices. Freebies help us make the right choices so that the money we spend actually increases our prospects and income in the longer term.
And imagine yourself on the other side of the fence for a moment. A potential client calls you. They have a book that needs copyediting. ‘The thing is,’ they say, ‘I can’t afford professional editing. How can I get out of paying you? To be honest, I’m just looking for free stuff.’ How fast would you hang up? Now imagine another writer calls you. ‘I’m in the middle of doing as much self-editing as I can using some free tutorials I found online and some advice from my writing group. There’s a fair way to go,’ they say, ‘but I figured I’d start saving now. Can you give me a rough idea of how much it might cost and how much notice you’d need? That way I can start planning my book budget.’ That’s the kind of client I’m excited about working with. The editor with the same mindset will be rewarded with guidance and help because they deserve it. The editor who wants it all for nothing won’t and doesn’t. By all means, grab all the freebies. The creators of those resources want you to have them. Making free stuff that’s invisible and unused is a waste of time and effort. Just don’t forget that free is the starting blocks. Investment is what gets us to the finish line! Further reading
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
If you're proofreading final designed page proofs, there's more to look out for than the odd typo or double space. Professional proofreaders identify and find solutions to a range of layout problems too.
Who is this checklist for?
This is for anyone checking final designed page proofs. For example:
What the checklist is based on
I've proofread over 500 books for the mainstream publishing industry. The checklist below is based on the house guidelines provided by the publishers I've worked for.
The titles I've proofread include social science textbooks, handbooks and monographs, and works of fiction and narrative non-fiction. And while the subject matter has varied, the requirements for checking final page proofs hasn't. Note my use of the term 'final designed page proofs'. This checklist is not for those doing a final quality-control check in a Word document. Rather, we're dealing with a typeset PDF or hardcopy of the book as it will appear when printed or published online. For that reason, the proofreader is tasked with ensuring that the appearance of the book is consistent and correct according to client preference. This PDF provides a summary of the required checks. To get a free copy, sign up to The Editorial Letter, monthly news about fiction editing and editorial business growth. 
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
This article is for editorial folk who currently choose to operate their businesses in isolation. There's nothing wrong with that at all if that's your bag, but I hope this will show you just some of the benefits of networking.
Why we need our colleagues
In ‘The rates debate’ and 'The highs and lows of editorial fees', I argued that colleagues shouldn’t be the primary determiners of the price we set or accept for editorial work.
They are, however, our go-tos for much else, and the professional editor and proofreader would be bonkers not to take the opportunity to exploit the myriad learning opportunities on offer from those with different skills, levels of experience, subject specialisms and environments! Rather than just writing a list, I thought it might be more interesting to give you a few examples of how some of my colleagues have helped me to develop my editorial business. The list isn’t exhaustive – it would be a book if it was – but it should give you a flavour of what’s on offer. Learning a new macro
I like to consider myself pretty strong on the editorial tech-tool front. And yet there was a time when I’d keep forgetting to switch Track Changes back on after I’d toggled it off. I needed a solution – some sort of visual or audio reminder.
A colleague alerted me that Paul Beverley had already tackled the problem with a macro: if you fancy trying it for yourself, you can read about how it works and how to install it at ‘How to never forget you’ve switched off Track Changes!’. Tightening up my marketing message
Some years ago, I'd been thinking about how I could better present my services so that they reflected the reality of what I spend most of my time doing – editing for indie authors.
Again, it was my professional network that came to the rescue.
Understanding another skill
Development editing isn't a service I offer. That doesn't mean I'm not interested in learning about it, though. I expanded my knowledge through colleagues who have experience in this macro level of editing.
Using Word more efficiently
Some years ago, two editorial colleagues wrote blogs that had a significant impact on how I use Word.
Using a gadget
One of my bugbears had been having to use hyphens for en dashes on my iPad and iPhone. It was colleagues who showed me that Apple has provided en and em dashes – I just hadn’t realized that if you hold down the hyphen button a small window opens and you can slide your finger to your preferred dash.
Discovering new tools
I love any editorial tool that can increase my productivity or enhance my professionalism. Colleagues alerted me to three particular favourites:
Maxing out an existing tool
I hadn’t been getting the best out of PerfectIt, even though I’m a long-time user. At another networking meeting, two colleagues showed me how to use the wildcard function more effectively.
This, combined with Jack Lyon’s Wildcard Cookbook for Microsoft Word, has been a real productivity enhancer. PerfectIt tends to handle wildcards a lot better than Word when Track Changes is switched on. Quoting mechanisms and publicizing rates
Over the years, colleagues have shared invaluable tips on pricing matters over the years, and although determining fees needs to be done using a deeper level of analysis than just following what friends are doing, there’s still a lot they can can bring to the table. Thanks in part to those conversations:
These two examples proved to be excellent reminders that testing is essential for the editorial freelancer who wants to learn whether a colleague’s way of doing things is appropriate for their own business. Making friends
My colleagues can do something a book or a course can’t. They can become friends. I’ve made so many edi-buddies that I can't even begin to list them all.
Not only have those people helped me how to be a better business owner, they've provided me with community, comfort and loads of laughs. Finding your people
There’s a ton of other stuff that colleagues can help with – I’ve only scratched the surface. If you’re reading this and you’re not connected, consider the benefits of changing the situation.
Ultimately, editorial freelancing is about running your own business, but there are plenty of people who’ll support you in its growth if you find a comfortable space in which to meet them! About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Just becoming editors or proofreaders doesn’t bestow special privileges upon us that are not available to other types of working people. It doesn’t mean we’re entitled to be commissioned. Nor does it mean that we’re entitled to earn what we’d like to earn.
Why entitlement won’t work for the self-employed
Entitlements are the domain of employees. Freelance editorial pros aren't employees of businesses; they're the owners of those businesses.
Work has to be found, which means clients have to be found. We don't live in command economies where the State hands out jobs and you take what you get. We've chosen to run businesses so we have to find a way to make them function successfully. The alternative is unpalatable. In a global market, where clients come from all over, and have different budgets, requirements and expectations, what those clients will be able or prepared to pay will vary enormously. Consequently, of all the clients we find via our extensive marketing efforts, only some will be a price match for us. For that reason, we need to be visible to as many as possible, because the bigger the pot the greater the chance of a conversion. To recap, just being an editor in itself will provide us with neither work nor the money we expect to be paid for the value we believe we bring to the table. Doing visibility is the key to cracking the problem. Imagine being a teacher ...
Do you know a teacher? Does that person have a paying teaching job? How did they get that teaching job? Are they happy with their salary? If not, ask them what they would have to do to solve the problem.
I know a teacher. She trained for the role. After her training was complete, she didn't have a job. So she had to find a job. She didn't sit there and say, ‘I'm a teacher. Where's the work?’ She went and searched for the work. She did loads of research, applied for tons of jobs, reviewed the packages on offer, prepared for a stack of interviews, attended them (which was stressful), filled in her spare time with voluntary work in the education sector to make her CV sing, and finally found a school who wanted her and for whom she wanted to work. For a few years the package worked for her, and then it didn't. She didn't say, ‘This school is predatory.’ She said, ‘I need to find a new job.’ So she did a lot more work. Now that she was more experienced and had higher expectations, it was tricky to find a good match. It took a lot of time, a lot of hard graft, a lot of research, but I never heard her moan. I'd ask how the job search was going. ‘Ticking along. No news yet but I'll know when I find it. The current post isn't perfect but it's better than being unemployed. You hear about Si? He’s been made redundant. Nightmare. He's really down in the dumps.’ My friend did secure a better teaching post. She worked her backside off to find that job. It would've been nice if it had landed in her lap, but that’s not how the teaching sector works. And it's not how the freelance editing sector works either. We have to work our backsides off to find the work we want to do and that pays the fees we want to earn. Feeling ripped off?
If you're feeling ripped off, that's okay. We’ve all done work that made us feel undervalued and underpaid. That's kind of how my teacher friend was feeling. Time to replace that rip-off work with a better package.
Be aware, though – this won't happen overnight. If you're not visible to those offering better-paying work, you'll have to make yourself visible, which takes a lot of hard graft. It took my teacher pal a couple of years to replace her employer with one offering the package she wanted. It might take you a couple of years to make yourself visible to the clients you want to work with. This could mean you have to stick with the current client while you're working your backside off to find a new and better-paying replacement. The client under the microscope
In the meantime, take a good hard look at the client. If you're feeling ripped off, it can be useful to examine not just the deficiencies but also the benefits. This kind of exercise can shine a light on some of the value you might have overlooked, value that you may not have costed into your analysis.
Turnover So the work isn't paying you what you'd like to earn, but is there a lot of it on offer? Every time you receive an email that offers you work on a plate, you get to fill your schedule with absolutely no effort on your part whatsoever. Some people have a few regular clients who provide 90% of their work. Others have a few regular clients who provide only 20% of their work; the other 80% is new business. New business needs to be found and converted into a working relationship. Which leads us to marketing … Marketing If you fill your schedule with a lot of work from one agency (or publisher or packager), and you think said agency is ripping you off, ask yourself how come they've got so much work that they can fill 80% of your schedule and the same percentage of many of your colleagues’ schedules. Is it because they’re marketing their backsides off? Then ask yourself whether you're prepared to make the same investment, because that's what you'll have to do. You'll have to do all the hard graft yourself. Marketing an editorial business isn't just a cute little hobby you dip your toes into a couple of times a year. Well, actually, it can be if you get someone else, like the agency, to do the graft for you (and there’s nothing wrong with that), but there'll be a cost to it because they'll take a cut of every penny you earn. And that's fair enough because there is a cost to finding clients. Marketing takes time, and time is money. So if you don't want to lose a cut, you have to fork out for the marketing investment. In other words, we don't get to have it both ways. We can't expect someone else to find our clients for us and expect to earn as much as if those clients were coming direct. If we did expect that, who'd be ripping off whom? Still want an exit?
If you still want an exit, that's fair enough. Start actively promoting so that you can phase out the lower-paying client(s) and replace them with new customers who'll pay what you want to earn. Plan for this to take time and a lot of work.
If you don't fancy the transitional approach, you can wave goodbye to the work immediately. If that's the case, you either live with someone who can pay all your bills (quite possible, and good for you), you have a trust fund (less likely, but wow), or you're happy to be partially unemployed for a while. As you can probably tell, I favour the transition method! That's because my family situation means my income is essential. When I was starting out, I couldn't afford to turn down work on principle while I was finding better-paying alternatives. I had to use a phasing-out approach (if negotiation wasn't on the table). Of course, it may be that you already have enough higher-paying clients to cover the lost income from the existing customer, but if that's the case you probably nailed your marketing strategy years ago! We’re responsible
No one else is responsible for the rates we earn, the clients we find (or whom we enable to find us), the tools we use to make ourselves visible, the equipment we buy, the tax returns we file, the colleagues we talk to, the meetings we attend. It's all down to us.
We're not entitled to have anything land in our lap. As business owners, we reap all the benefits, but we have to do all the work. Every time we hand over some of that graft to another entity (finance to the accountant; client-finding to an agency; fee-handling to a money-transfer organisation), we see a cut in profits. That's not being ripped off; it's a cost of business. If you don't want to bear the cost, you have to do it yourself. Being an editor isn't enough when we're freelance. If we're not wearing the many hats required for business ownership (or we resent bearing the cost of someone else wearing them for us), we need to take a step back and consider whether it’s time to make some changes. What we are entitled to
What we are entitled to do is to make our own decisions. We’re entitled to choose the clients, the rates, and the types of work that suit our needs.
So if you want to work for a packager or an agency that pays less than a colleague thinks is acceptable, but there’s value in it for you and your business, that’s fine. If you want to decline the work and source your own clients direct, that’s fine too. Me? I’ve done both in my time because it was right for me. You’re entitled to the same choice. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
In this article, I consider how resistance to change can stop us from learning new skills or testing new methods to make our editorial businesses more successful.
This article was updated in March 2026.
‘I’m not trying that!’
Editors, like any other professionals, can fall into the trap of resisting change – for example, not trying out a new marketing strategy; claiming they have no need for business tools such as macros; or refusing to take on work that requires using a new platform, software package, or format.
All of us have either said, or heard one of our colleagues say, ‘I don’t work in that way,’ ‘That’s a bad idea,’ ‘I don’t like the idea of that,’ ‘That’s not the way I do things,’ or ‘I just couldn’t bring myself to do that’ at some point in our careers. We work in a highly competitive, crowded, and international marketplace. We’re business owners, not hobbyists. That means our businesses have to earn us a living. Our market isn’t static – it’s always shifting:
All of that means that resisting change and failing to learn the new skills or to try new methods (whether technical, promotional, or practical) simply doesn’t make sense for today’s editorial business owner. If we refuse to change, we refuse to compete – and that’s a path to business failure. Why do we resist change?
According to psychologist Edgar H. Schein, Sloan Fellows Professor of Management Emeritus at MIT’s Sloan School of Management, it can be a result of ‘learning anxiety’ (Diane Coutu, ‘The Anxiety of Learning,’ Harvard Business Review, March 2002). Says Schein:
Back in 2002, Schein discussed the issue in relation to the challenges of organizational change and transformation, corporate culture, and leadership. But that quotation can apply just as well to the editorial solopreneur in 2018.
We may be anxious about making a change for fear of not doing it well; equally, we might have heard or read negative opinions from our colleagues about using a particular technical tool, testing a new marketing effort, or changing to a new way of working – and that makes us wary of being seen publicly to be trying such things, lest they draw negative attention. So how might we go about tackling learning anxiety so that we can embrace change rather than resisting it? There are several options:
Plan the change so that it’s considered and systematic
If you think there are changes that should be made, or new skills learned, approach them as you would a business plan. By breaking the changes down into components, they will seem more manageable and less anxiety-inducing.
Redefine ‘failure’ as ‘lessons learned’
We must accept that change always brings risk. However well we plan change, however well it appears to meet our business objectives, the outcomes aren’t always what we hoped for or expected.
The key here is to redefine those results in a positive light whereby ‘failure’ becomes ‘lessons learned.’
All those outcomes could occur; but it’s also possible – particularly if you’ve made thoughtful, informed decisions about what changes to test – that the following will happen:
And even if you do end up in the worst-case scenario, who’s to say that the changes you’ve made won’t reap rewards further down the line? Who’s to say that those colleagues who were disparaging about your efforts are correct in their assumptions? Being prepared to try new things is how we learn. When the outcomes are not as expected, that’s not failure; that’s information on which we can make future decisions about what not to do, what needs tweaking, and what needs retrying. Not being prepared to learn and change in a competitive market is more likely to lead to failure that trying something new. If you don’t try, you don’t know. There’s nothing wrong with trying something new, only to find that it didn’t work. Any normal human being trying to be creative when running their business is not going to get it right every time. And if things don’t go to plan, you’ll be in great company. Here’s Woody Allen: ‘If you’re not failing every now and again, it’s a sign you’re not doing anything very innovative.’ And here’s Thomas Edison: ‘I have not failed. I’ve just found 10,000 ways that won’t work.’ Do a cost–benefit analysis
If you’re nervous about making a particular change, do a cost–benefit analysis by considering the following questions:
Working through these questions can highlight benefits and challenges, and help you to think through ways to maximize the former and minimize the stress of the latter. Case study
In 2025, I decided I wanted to provide more transparency for potential clients about my pricing and availability. I was a little nervous about publishing this information, so I tackled the questions above, and the answers helped me to map out a solution that I could test.
What are the potential gains from the change?
What will I potentially lose if I publish my prices and availability?
What will stay the same, even though I’ve made this change?
How will the changes make me feel once I’ve completed them?
The solution
Working through this cost–benefit approach gave me confidence because I felt like I'd thought it through in a way that helped me plan. I created a new web page that takes potential clients on a 5-step journey, I ask them to:
Step 1: Check that I edit their genre Step 2: Consider what kind of editing support they need Step 3: Review my rates Step 4: Check my availability Step 5: Use the form to tell me about their project and get in touch I've added links to resources that show my value, and to my service descriptions so that there are no misunderstandings about what's on offer. Access the page requires the potential client to provide me with their email address and select from a list of options about how they've found me. The results
I’m really pleased that I explored this approach and found the courage to try something that I'd previously resisted. My fears turned out to be unfounded. Instead:
Taking professional responsibility
Resistance to change is a normal human emotion. However, we are business owners. We work for ourselves. There’s no one in the HR department to walk us through the changes we might need to make even though we feel nervous about them.
Change is inevitable. The fact that it can be anxiety-inducing needs to be acknowledged. The key is to ensure that anxiety doesn’t get in the way of action. The decisions I made about pricing transparency will not be something that all my colleagues will agree with or want to implement. That’s fine – they have their businesses to run and I have mine. They make the decisions that are best for them while I make the decisions that are best for me. Still feel reluctant to make a change, or learn something new?
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
An in-house editor discusses how he handles receipt of substandard work from a freelancer. Also worth noting is his advice on how a freelancer might interpret a lack of contact from an in-house editor and what to do about it ...
Philip Stirups sheds light on his experiences of editorial production. To be clear, Philip’s contributions are from the point of view of a publishing professional, broadly speaking.
So while some of the things he has to say are informed by his experiences within the UK company for which he currently works, his residency here is not in the capacity of a representative of that particular publishing house. Over to Philip ... Potential problems in-house editors encounter
At the outset, I want to say that the majority of proofreading jobs I receive back from freelancers are good. However, in a handful of instances, a job comes back and, unfortunately, it isn't up to scratch. Problems could include:
From an editorial perspective, this can cause an array of different problems. First, an unsatisfactory proofread will usually lead to the in-house editor having to step in to compensate, which can in turn have an adverse impact on the book schedule. A second problem, from an in-house editorial perspective, is even trickier: how to give feedback in an honest, yet tactful, way. Breaking the bad news …
On the surface, the simple solution to this seems to be: "tell it as it is". However, this is easier in theory than in practice. The problem is that it’s quite difficult to convey tone via email. I want to get across what has been missed, but in such a way as not to seem condescending.
Furthermore, I don't want the freelancer to go away thinking they've done a bad job, when overall they haven’t. I could use the phone in order to avoid tone problems. However, I believe that an email is more beneficial to the freelancer because it provides them with a written record of the issues; this means they have something to refer back to when they carry out future work for the in-house editor. Receiving criticism, albeit constructive feedback, can be a shock for the freelancer, and very upsetting. I don’t want my suppliers to lose confidence when I have to tell them a job didn’t meet my requirements. Instead, I want to communicate the message in a way that enables them to move forward, strong in the knowledge that by attending to the highlighted problems our working relationship can continue satisfactorily. Email gives them the time and space to digest the feedback I've offered in a non-confrontational way. In cases where the work continues to be substantially below expectations, the clearest feedback a freelancer will receive may be represented by them not being offered further work. This isn't to say that, overall, they are not good at what they do – rather, each job needs to be assessed on an individual basis, and when a freelancer is unable to use critical feedback to meet the in-house editor’s needs, the editor may decide that the supplier is no longer a good fit. Things aren’t always what they seem …
Being offered no work, or only intermittent work, is not always an indication of poor fit or poor-quality work. It can often simply be, as I have often experienced, a case of there being no work available at the time.
Publishers' production workflows vary. A large house, with multiple imprints, that publishes mass-market paperback fiction may have a steady stream of projects to offer freelancers throughout the year, while a smaller independent academic press specializing in social science monographs or student handbooks may have busy and quiet spells in its production process. It may also be that the freelancer had regularly turned down work, owing to the demands of their schedule. In this case, the in-house editor may have taken the decision to focus on other suppliers who are more often available. It’s not a question of poor fit or poor quality; rather, the freelancer has simply slipped out of the in-house editor's mind. If you’ve not been offered work from one of your in-house editors for a longer time than you feel comfortable with, get in touch. It never hurts to drop an editor a message to ask whether they have any projects. The worst they can say is “no”, and even if they don't have anything to offer you now, but are happy to work with you again, you’re back on their radar. Don’t be afraid to ask …
I cannot say there is a right or wrong way to give feedback. However, I firmly believe that openness on both sides is the key. I am willing to admit that my freelancer briefs could be improved. If you ever want feedback from your editor, just ask ...
And remember: it is never personal; it’s about meeting a set of business requirements. We in-house editors and freelancers are on the same team. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Want to know how quickly the money will start rolling in once you set up your editing or proofreading business? Read on.
Common financial questions
It’s not uncommon for established editors and proofreaders to be asked the following questions (or variations of them):
It’s natural that any potential new entrant to the field wants reassurance with regard to the possibilities for success. Unless we own a business that provides editorial services for free, has no operating costs, and is owned by someone (us) who has an independent income that pays all our bills, we all need to earn money. However, there’s a problem. All these questions are impossible to answer by anyone other than the person asking the question. I would love to be able to give definitive answers:
But to respond as such would be misleading. However long we’ve been in business, however 'successful' our businesses, we can’t know how a new colleague will fare. This is because the following are specific to each and every one of us: A. How much we need to earn per month to meet our expenses B. How many billable hours a month we have available for work C. The customer groups with whom we are best matched D. How much our target customers will pay E. How much work per month (hours) they will supply us with Ultimately, we all hope to be in a position where D x E is greater than A (though we are limited by B). Getting to this point takes time and effort, so transitioning carefully with realistic expectations, thorough research, sensible planning and an awareness of what needs to be done to run a business will form the backbone of any advice an editorial pro can provide. A: How much money do you need to earn?
Financial viability is less about what you earn than what you need to earn. If Ms Editor earns ten grand a month from her editorial business but her mortgage is triple that, she’s in trouble.
If Mr Proofer earns ten grand a year from his editorial business but he has a large trust fund and a mortgage-free home, courtesy of a wealthy and generous relative, he’s laughing. These are extremes, I know, but the point is that each person’s requirements are unique to their situation. For example:
All these issues and more will affect what you need to earn and therefore what financial figure will mean 'success', 'sustainability' and 'viability' for you. B: How many billable hours a month do you have available?
Returning to the basic equation above, if D (what our customers will pay) multiplied by E (how many hours of work we can secure) only equals A (what we need to earn) when we bill for 40 hours a week, but we only have 20 billable hours a week available, we have a problem.
For example, if in your household there's a young child who needs attending to, meaning you have 30 billable hours available. you have to factor that into your planning. Even if you have 50 billable hours available, are you sure you can work those hours? Proofreading and editing require a lot of concentration. There’s a lot of strain on the brain and the eyes. Some people can sustain this level of attention; others struggle. It’s therefore important to be realistic about whether it’s physically feasible to work the hours available. Heed Rich Adin's wise advice: 'The usual scenario is that an editor ends the year having worked fewer than an average of 40 hours per week and fewer than 52 weeks during the year' (The Business of Editing: Why $10 Can’t Make It, An American Editor, 2014).
That's worth bearing in mind when doing the arithmetic.
Furthermore, running one’s own business means that time has to be made for housekeeping issues that aren't billable – marketing, invoicing, equipment maintenance, troubleshooting, accounting, training, etc. If you have 40 hours, you may well need to set aside 5 for your other business-essential tasks, leaving you with only 35 billable hours. Be sure to factor those in to your planning. C: With which customer groups are you best matched?
What services you are offering and to whom? Different client types have different expectations – of what editorial services cost and what they comprise.
An independent author might ask for a proofreader but expect the level of intervention that a copyeditor would provide; they might even need a structural editor. Also worth noting is that a publisher with a set of typeset page proofs will almost certainly define 'proofreading' differently from a business client with a Word file. And a biologist looking for an editor to check their journal article prior to submission might require that editor to have a life-sciences knowledge base that the fantasy fiction author certainly won’t. Knowing your customer and how their needs match your skills is important if you're to target effectively. Getting to those customers is key – earning money means finding clients; and finding clients means promoting your business. If you have 35 billable hours available but no clients, you're effectively unemployed. Assuming you are trained and work-ready, you need to be proactive with regard to those promotional activities that are most likely to bring you into contact with your customer. Effective marketing is not only about delivering the message via an appropriate channel, but also about ensuring that the message is on point. This can take a lot of tweaking – making sure that CVs, portfolios, website copy, letters/emails, directory listings, etc. communicate the right message to a particular customer. D and E: How much will your target customers pay and how much work will they will supply?
Even if you've identified appropriate customer groups and worked out how to get their attention, will they pay you what you need to earn? 'Editing' is an umbrella term that incorporates a range of functions and a corresponding range of fees. See, for example:
Asking how one goes about getting into 'editing', how much it will pay and how long it will take to earn that money is a little like asking the same questions with regard to hospital work – it depends on whether you want to be an auxiliary nurse, a radiologist, a heart surgeon, an administrator or a cleaner. There are lots of different jobs that pay different rates. Opportunities for one role may come up less often than opportunities for others, and the skills/training required to be work-ready for those roles are different, too. (For guidance about suggested fees, check your national editorial society's guidelines.) You may find that, in the start-up phase of your editorial-business ownership, the clients who are offering you work don’t have enough of it to meet all of your financial requirements, or they have enough work but the rates they are prepared to pay mean that your total monthly earnings don’t match your outgoings. Furthermore, the editorial freelancing market is competitive. Some of your core potential clients may already have the suppliers they need, so even though you have the skills the customer wants, they don't yet have space to take you on. All of these factors mean that building an economically sustainable client base will take time, though exactly how much time will vary depending on whom you speak to. What to do ... asking answerable questions
Here's what to do:
Once you know what you’re spending you know what you need to earn. Now you’re in a position to start thinking about the types of people who will hire your services and how you will get to them.
Join editorial freelancing networks and use these to talk to your colleagues-to-be. In addition to the social media options, most national editorial societies offer opportunities for members to engage with each other. Using these networks, you can explore the following: None of the above will tell you whether their experiences will be the same as yours because you’re starting out now, whereas they were starting out then. Furthermore, your voice is different to their voice, so the way you present yourself will be unique. Still further, not all the online voices will be targeting the same customers as you or even live in the same part of the world as you; advice may be country- or region-specific and therefore not necessarily appropriate to you (though many core business issues are universal). What these discussions will do is guide you towards ideas and activities that can be tested. As Kate Haigh reminds us, when it comes to networking: 'The support that we all offer each other is invaluable, not only with work-specific queries but also with ideas for training, ways of dealing with the peaks and troughs of work and, perhaps more importantly, just being there with an understanding ear.' (Best of enemies – the joys of seeing other freelancers as colleagues and not enemies. Find a Proofreader)
No established editorial business owner will be able to hand over a ready-made plan that will guarantee a certain level of income in a certain time frame by carrying out a definitive list of activities.
However, by doing the in-depth research and planning, you can still make sensible decisions about whether to jack in your full-time job and go freelance straight away, or whether to hold off and transition more gently as you hone your skills, explore your potential customers’ requirements, and build a sense of what work is available and how much income it generates. And don't forget that terms such as 'success', 'viability' and 'sustainability' mean nothing unless they are framed within the broader and unique context of what each of us requires to thrive. More resourcesAbout Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Before you call an experienced editor for business advice, read these six tips to make sure you create a good impression.
1. Before you call, email to make an appointment
Unscheduled calls are a no-no. The experienced editor you're seeking advice from is already running a business, and their clients come first. Check their website to find out if they offer business advice.
If you can't find this information, email them to ask whether they're prepared to have a call with you and for how long. Don't assume it will be free ... 2. Recognize that you’re costing them money
Acknowledge that your time on the phone with the editor is costing them money. It demonstrates respect for the fact that the person you're calling is running a business. Every minute they spend focusing on someone else’s business development is a minute they're not spending on their own.
Think of it like this: If you were to hire a professional consultant, you would expect to pay a fee for that service. So when your chosen specialist agrees to talk to you for half an hour for free, that’s money staying in your pocket, and time they have to make up out of hours so that their income isn't affected. 3. Have the necessary information ready
Focus on providing information that the editor needs to know in order to guide you.
Don't ramble on about how you're good at spotting typos in newspaper articles and really love reading. Instead, concentrate on the specific business questions you want guidance on ... what you want to do next, rather than what you already like or feel. This will make a good impression on the editor because they won't feel that they're spending their valuable time having a chitchat with a stranger. Instead, they'll be focusing on your business goals. So, before you pick up the phone (or write an email), make a bullet list of the following:
4. Listen
If you call up an experienced colleague-to-be, have your note-taking gear to hand, keep your ears sharp, and ensure the conversation remains streamlined by not straying from the reason you phoned.
Once you've explained what you need, and the editor starts to talk, listen without interruption (unless you need clarification). 5. Ask for honesty
Ask the person you've called to give you an honest assessment of your prospects. This is really important because it shows them that you understand something fundamental – that you're considering becoming a self-employed editorial business owner, and it isn't going to be something you can just fall into without being engaged, active and organized.
Don't ring up expecting them to tell you not to worry, that everything will be fine if you just dip your toe in the water, have a group hug with a few friends and wait to see how things go. There will be things you need to do, now and in the future, to have the best chance of developing a solid client base and regular work stream that will secure a sustainable income (as defined by your needs). If you don't want the editor you've called to throw the business version of a kitchen sink at you, that's fine. But in that case, don't call them! You wouldn't pay a consultant for anything other than substantive ideas for your business development. If they just had a little chitchat with you for half an hour, you'd probably feel short-changed and want your money back! Toe-dipping is fine if that's your preference, but don't expect a stranger to spend half an hour of their working day to have a chinwag with you about it. They've other things they could be doing with their time. 6. Show your gratitude
It’s such a simple thing, but saying thank you makes a huge difference. Follow up with an email that thanks the editor for the time they've taken out of their busy schedule to help you.
They're much more likely to keep in touch with you because you've impressed them with your professional and gracious attitude, and they'll want to know how you're getting on! Cassie Armstrong explains why you must ask a client to sign a contract for editing and proofreading services before you start the work.  Working without a net Most of you wouldn't think of beginning an editing project, or making a major purchase, without a contract in place. I was like that, too. I never began a new project without either a signed contract on file or an email where both parties made it clear what they would and would not do. But I didn't do that with a recent project. That mistake cost me time and money. Take a minute and learn from my mistake. I answered a job post for a proofreader a few weeks ago. The project was interesting, so I sent an email to the person who posted it. We talked about what the work involved, why a proofreader was needed, and about my hourly fees. I was thrilled to be accepted because the project piqued my interest. I could relate. But in my haste to begin, I didn't take the time to discuss a contract with my client. I should have stopped right there and corrected this mistake. Ask if there’s a budget In the early talking stages, when you and your potential client are discussing the project, take the time to ask if there is a budget for the work. I usually always ask. If I like the project and want to be involved, I will often times accept it even if the potential client’s budget is lower than my hourly fee. That decision is up to you, but it’s one that you need to consider in the beginning talking stages for any project. Money isn’t the only reason to be involved. In the recent project I suggested an hourly fee but didn't ask about a budget. For the next piece of work, I plan to avoid this mistake and ask the question. It would be in your best interest to ask the question, too. Remember to ask it during the project’s conversational phase, before you accept job. Don’t do anything without a contract I didn’t suggest or push for a contract because my client wanted the project completed in a week. I thought requesting a contract would slow down the process. This was my third mistake. Always take the time to draw up a contract. If you don’t want to be that formal, you can write the potential client a letter that explains what you will do and how you will do it. The letter and contract don’t have to be complicated and KOK Edit has some good examples that you can review and modify to suit your needs in her Copyeditors’ Knowledge Base (Contract between editor and book publisher; Contract between editor and client). An email will also serve as a contract If you don’t want to draw up a formal contract and take the time needed for both parties to sign it and return it, an email where you specify
will also suffice as long as you have a statement of agreement from your client in a return email. This acceptance email will serve as the contract for the job. Ask for a deposit Just as a contract is important in any project, so is a deposit. Depending on the length of the project, you may want up to 50 per cent in advance and payment on billable hours every two weeks. The amount of deposit as well as the project’s billing cycle is as individual as the project and editor. These items should also be spelled out in the contract. For some small projects, I have edited without a deposit. For me, it’s a gut reaction. Just as each contract is different, so is requiring a deposit. For short projects with rapid turnarounds, deposits may not work. Do what works for you and is best for your circumstances at the time. In all cases, make sure you have complete contact information and consider using PayPal. Add a kill fee No matter what kind of contract you write, either traditional, a letter or email, make sure the contract contains a kill fee. The kill fee will save you a lot of grief and will provide an out for both you and your client if things don’t progress the way you'd planned. Just as a deposit helps protect you from doing a lot of work and then not getting paid for it, a kill fee, cancellation fee, or rejection fee serves a similar purpose. The kill fee ensures that you’re paid for all the work you’ve done up to the time the client notifies you that they are not going to work with you any longer, or when you decide to walk away from the project for one reason or another. Both you and the client may decide to cancel the project for any number of reasons, including timing, money, or change of focus. You both may decide to cancel the job because you aren't happy with the initial work, may think that you aren't working well together, or may not want to continue for some other reason. Whatever the grounds, the kill fee helps cover your billable time and any tangible expenses (delivery fees, for example) incurred so far in the project. Make sure you understand what the project entails Through conversations and drafts, make sure that the project requirements are crystal clear for all parties involved.
Going over these requirements at the beginning will save both you and your client frustration later on down the line.
Failing to address these kinds of issues could upset your client and may cost you money and time in the long run. Offer to fix any errors If you make a mistake in a project because of a lack of communication or because the client is not happy with one aspect of your work, offer to fix the problem. Taking a few hours to make a client happy will be your best reward in the long run. It will make you feel good and there’s also the possibility of receiving future work from a satisfied customer. Keep the lines of communication open Communication in a project is key. You can communicate via email or via the telephone. Establish the best way to keep in touch before the project begins and discuss how many times a week you will be in contact. If the client prefers telephone conversations, exchange numbers. Ask when the best time to talk is and keep in mind any different time zones between you both. Keep all conversations brief and on point. Be courteous but businesslike. Don’t allow yourself to be bullied If you find yourself in the position where you’re doing more than the contract specified, take a minute and regroup. Go over the contract specifics. Make sure to review the specifics and discuss the new project requirements with your client. Explain that the new requirements will take more time and will cost more than the original fee. Offer to fulfil the new requirements for an additional fee and specify how this will be paid. Keep all conversations light but remain in control. Don’t allow yourself to be pushed into doing something that you’re not comfortable with or making changes that weren’t discussed previously. If you have to make changes or correct an error, don’t allow the client to deduct the cost of these changes from the original project fee. Explain your position to your client and stand your ground. Standing your ground is something that many of us aren't comfortable with. However, in business, and real life, it’s necessary if you don’t want to be bullied. If a situation like this occurs early on in the project, the kill fee you included in the contract, letter, or email will come in handy. Use it and walk away. Never put yourself in a situation where you are not in control or where you have second thoughts about a client or project. It isn't worth it. Bottom line Bottom line: a well-designed contract should avoid any potential problems in a project. Before I begin another project, either with an individual or with a publisher, I plan to make sure that the job specifics are spelled out and crystal clear. I will also add a kill fee to the contract and if there’s an inkling that the project is not going well, I will walk away. About Cassie ArmstrongCassie Armstrong is a professional editor and the founder of MorningStar Editing. She provides manuscript evaluations, coaching for writers, and book editing services that help you understand what’s working, what needs revision, and how to move your manuscript toward publication with confidence. I specialize in working with authors of children’s books, cookbooks, and craft or how-to books, offering targeted editorial guidance for these unique formats.
Experimenting with new editing and proofreading markets is not just about bringing in the money; it’s also about opening yourself up to new opportunities and experiences.
Are you a creature of habit?
I’m a firm believer in not putting my eggs in one basket.
I’m also a creature of habit. There was a time when most the prospective clients who contacted me were similar to my onboarded clients: academic publishers. I knew this market well – I understood its language; I was familiar with its processes; and the expectations of what the work involved were understood by me and the presses for whom I worked. Taking on work in areas that were unfamiliar felt somewhat daunting. Questions that plagued me included:
And for a long time if felt easier to stay in my comfort zone, especially since I enjoyed the work. But every now and then it doesn’t hurt to take a punt. After all, the best-case scenario is that you find a new niche – another string to your editorial bow – while the worst-case scenario is simply that it doesn’t work out. And, really, what's wrong with that? A. What if the work doesn’t suit you?
The great thing about being a freelance business owner is that you can always close the relationship if things don’t work out as planned.
And even if your hoped-for long-term business relationship ends up being rather shorter than expected, you can still notch up the completed work to experience and use the knowledge you’ve gained to inform your future choices. So if the work doesn't suit you, no problem. At least now you know. B. You like the work but the financial return is much lower than expected
Perhaps you find it easy to estimate how much time work from your existing client base will take because it’s a market with which you're familiar. Quoting for work outside the field is far harder for all of us.
So, what if we make a mistake and seriously under-quote? One way to avoid this is to offer a trial rate that you’ll honour for the first few projects, but suggest the possibility of reviewing the fee structure a little further down the road once you’ve completed one or two pieces of work. If you haven’t gone for the trial option, and find that the work is taking much longer than expected (causing your hourly rate to plummet), don’t beat yourself up about it. Contact the client and explain the situation, stating that, of course, you’ll honour the original quote for the initial pieces of work supplied but that if the relationship is to continue you’ll need to review the price with them. In this situation it may be that the client decides they can’t afford your proposed new rate. That’s fair enough – at least the discussion is open and honest. Make sure you:
That way, your client will appreciate your professionalism and see that you’re not trying to rip them off. And even if things don't work out on the price front, you'll be able to close the door to each other on good terms. Of course, there's always the negotiated compromise. You can ask them to make their best offer and decide whether you can live with it. The experience you’re acquiring and your enjoyment of the projects might mean that you’re prepared to take a bit of a hit (though not one that makes you feel as if you are being exploited). Compromise isn’t for everyone, but it is an option. C. What if the work’s not what you expected?
So you thought you were proofreading but actually you’re editing.
Or you thought you were editing but actually you’re writing. Or perhaps you were expecting monthly projects of a couple of thousand words and you’ve ended up with a tome on your desk (or in your inbox). Ask yourself the following:
If the answer to (1) is no, then inform your client as soon as possible that the job’s not for you. That way they can find a replacement. If you’re okay with the work but the answer to (2) is negative, then you need to take the same action – tell the client that you’re sincerely sorry but you don’t feel the job is within your skill set; or, if it is but the deadlines are unmanageable, give them the heads-up immediately. In the latter case you may be able to set up new arrangements whereby the time frames are workable. If you still want the work and you’re fit for purpose, but you’re unhappy with the rate (3), it’s time to have the open and honest conversation outlined in section B, above. Many an editorial freelancer has been surprised at how receptive clients can be to procedural or rate reviews as long as the conversation is timely, polite and expressed in a way that acknowledges their needs. If your work is of high quality, your client may just bend over backwards to make the relationship work. 2026 update: The punt I took, and where it led
Back in 2014, one of my social science publisher clients referred me to her production manager friend who worked for a trade publisher. It's how I got offered my first ever fiction proofreading gig. I asked myself all those questions about capability, price and time.
Self-doubt tapped me on the shoulder. Impostor syndrome whispered in my ear. I took the job anyway because it was an amazing opportunity. I decided I didn't care if the fee ended up being rubbish ... the book I was being offered by a big-name author would look so good in my portfolio that I couldn't pass up the chance. In other words, I took a punt. And that punt led to more fiction proofreading work from publishers. And that led to more fiction editing work with indie authors. And that led to me editing only fiction. Until that led me to specializing in only one particular genre of fiction. Now that's all I do – stylistic line editing for indie authors writing crime fiction, mysteries and thrillers. A punt evolved into a purpose. A chance evolved into a choice. I don't just line edit this genre; I teach others how to, with my books and courses. And that chance diversification has become a niche specialism that's at the heart of my brand identity. Summing up
Taking a punt brings up all sorts of unexpected pleasures, but sometimes a little pain, too. Good communication framed by honesty and immediacy will make the journey less bumpy.
Whatever happens, as an editorial colleague once told me, 'There’s no point in getting one’s knickers in a knot over it. You win some and you lose some in this gig!' If you love what you're doing, great. But if something comes your way that feels like it might be interesting but you're holding back because it feels risky, consider whether it's worth a punt. You never know where it might take you. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
An open letter to new proofreaders (in fact, editors of all descriptions) ...
Dear newbie proofreader,
I’ve told you a lie – I don’t hate the term “freelance proofreader”. “I’m freelance”, “I went freelance in …”, and “since I’ve been freelancing” are phrases I trot out all the time to explain the way I organize my work life. I'll be frank with you, though – I do sometimes worry that the term “freelance” doesn’t quite cut the mustard. If I’d spent 15 years working as an electrician for an electrical installations company and then decided to go it alone, I’d never have described myself as a "freelance electrician". I’d have told people that I was now running my own electrical business. Does “freelancer” really reflect the level of business acumen required to do my job? And it’s not just my ability to make sound judgements and take the right decisions. It’s bigger than that – it’s that whole sense of business-cultural embeddedness that’s at stake. If I don’t think of myself as a business owner, then am I in danger of not acting like one? And if I don’t act like one, why would anyone else think to treat me as one? Her Majesty's Revenue and Customs does not consider me a “freelancer”. Rather, I’m a sole trader. I’m the owner of a business that employs exactly one person. I carry out tax self-assessments just as if I was that business-owning electrician I mentioned above. Just like the electrician, I’m hired by a number of different clients to carry out professional services. Just like the electrician, I set my own rates (though perhaps unlike our electrician I may agree to – or decline – an offered fee). Just like the electrician, it’s up to me to decide whether I want to accept a client’s offer of work or decline it. Just like the electrician, I work the hours I choose to work and take holiday leave when I decide to. And just like the electrician, the only person who can fire me is, well, me. Does a freelancer work in a different way to that of a business owner? This one doesn’t. So what’s the problem with referring to myself as “freelance”? I don’t think there is one as long as I’m clear in my mind about what needs to be done – and being a business owner is more than just a being an editor or proofreader (or an electrician).
I could say more but I have a work deadline to meet and a child who's complaining of a sore throat, so there isn’t time right now. I hope this gets you thinking, anyway. So, dear newbie, if in your own head the term “freelance” doesn’t conjure up an image of these many hats, then I’d advise you instead to start thinking of yourself as a business owner first and foremost. To do otherwise may leave you ill-prepared for the myriad functions that you’ll need to perform (and that you may have little experience of) when you start out. You'll be the luckiest editorial freelancer in the world if the work just lands in your lap. It's far more likely that you'll have to work very hard to get yourself established. Become “freelance” by all means, but do your business planning and development just like any other new business owner. With best wishes, 
Louise Harnby | Crime Fiction & Thriller Editor Contact information: To enable me to deal with your query as quickly and efficiently as possible, please contact the relevant department. Owner: Louise Harnby President: Louise Harnby Chief Executive Officer: Louise Harnby Marketing and Communications Director: Louise Harnby Web Developer: Louise Harnby Sales Manager: Louise Harnby Professional Development Director: Louise Harnby Publishing Services Director: Louise Harnby Training Coordinator: Louise Harnby Financial Controller: Louise Harnby Distribution Manager: Louise Harnby Human Resources Officer: Louise Harnby Digital Services Executive: Louise Harnby Office Manager: Louise Harnby Proofreader: Louise Harnby Copyeditor: Louise Harnby Line editor: Louise Harnby About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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