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In this article, I offer 12 tips on how to make your book file editor-ready.
Interior book design is something that should be carried out after your book’s been edited, not before.
If you’re creating a printed book, post-design page proofs are perfect for the proofreader because they can check not only your spelling, punctuation and grammar but also the layout. Page proofs are either hard-copy or PDF versions of the book that are laid out exactly as they will appear in the final printed version. You and your proofreader will be looking at what the reader would see if they were to walk into a bookshop, pull the title off the shelf and browse through the pages … almost. The proofreader’s job is to ensure that any final errors and layout problems have been attended to before the book is printed. For a comprehensive overview of what needs to be attended to when proofreading designed page proofs, read this: Proofreading checklist: How to check page proofs like a professional. 
With copyediting (and proofreading raw-text files for digital books), it’s a different story ...
Working with raw-text files If you are asking a professional editor to work on the raw text of your book, follow these 12 recommendations to ensure that the file is editor-friendly. The good news is this: it means less work for you, not more, because you’re not having to design anything … not yet, anyway. 1. File format Most professional fiction editors work in Microsoft Word. That’s because, despite the odd glitch, it’s still the best word-processing software on the planet. It has a range of excellent onboard tools that help your editor style the various elements of your text consistently, and quickly locate potential problems that might need fixing. Word is compatible with a host of macros that complement the editor’s brain and eye. That means they can add an extra level of quality-control to the edit efficiently. Even if you’ve written your book in a different program – for example, Scrivener, Google Docs or Apple Pages – place the text in a Word file before you send it to your editor. You’ll get a better-quality book edit, I promise. 2. Number of files Unless you’ve agreed with your book editor to work serially – i.e. on a chapter-by-chapter basis – create a single master file that contains the full text of your novel. If you send them 75 separate chapters, all they’ll do is combine them into one file … after they’ve finished weeping with frustration. Editors want to ensure that your book is consistent – that Kathyrn doesn’t become Katherine, Catherine or Cathryn. There are Word plug-ins that can help them identify problems like this efficiently but they’re only effective if the editor is working with a single file. The same applies to ensuring that the various elements of your text are formatted consistently. For example, it’s conventional for the first paragraph in a chapter or section to be full-out (not indented). Your editor can use Word’s styles palette to define the appearance of a first paragraph. Once the style has been set, it’s a case of applying it to every relevant paragraph in the file. If they don’t have a master file to work with, they’ll have to create a new style for each one of your 75 chapters or import that style for the same. Fiction editors love master files, and they will love you if that’s what you provide. 3. Fonts You might have decided to use an unconventional font for your book interior. You’re perfectly entitled to use any font you choose ... just spare a thought for your editor’s eyes. When it comes to the editing stage, stick to something like Times New Roman, size 14. It’s a serif font, which means it’s easy on the eye. The less your editor struggles to read the text, the better the quality of their work. 
4. Colours
I recommend you use black text on a white page. Again, it’s about readability. The white text on the coloured blocks below certainly stands out, and the contrast is visually appealing, but for editing purposes it’s a challenge. 
A couple of years ago, I was asked to copyedit a fabulous book for an indie author. The pages were black, the text pink. The first thing I asked him – no, begged him – was for permission to change the file’s appearance to something more conventional.
He agreed to save the quirky colourway for the design stage and I was immensely grateful. So was he. I’d have had to increase my price because I would have edited more slowly. 5. Paragraphs Open any novel on your bookshelf and it’s likely you’ll see a text layout something like this: 
Those indented paragraphs are not made using the tab key. Instead, use Word’s ribbon to create proper indents.
To find out how to create a body-text style with proper indents, watch this video tutorial: Self-editing your fiction in Word: How to use styles.
6. Spacing At line and copyediting stage, don’t worry about how many pages your text covers. Instead, give your editor a file with the lines spaced so that the text is easy to read. Setting the line spacing at 1.25 or 1.5 works well for a font size of 12 or 14. The line spacing function can be located by right-clicking on text and selecting PARAGRAPH. A window will open. Make sure you’re in the INDENTS AND SPACING tab. Then amend the LINE SPACING field. 
7. Chapter headings
Your editor will adore you if you assign your chapter headings with one of Word’s heading styles: 
You can even modify the style so that it automatically starts on a fresh page.
Right-click on the heading style, select MODIFY, then FORMAT, then PARAGRAPH. A window will open. Make sure you’re in the LINE AND PAGE BREAKS tab. Check the PAGE BREAK BEFORE box. 
Why is this useful?
8. Page numbers
In a raw-text work of fiction, there’s no need for page numbers or other headers and footers. Word records the page number in the bottom-left-hand corner of the screen of a PC, and that’s what an editor will refer to if they need to direct your attention to a specific page. 
If you plan to upload a later version of your file for ebook creation, your page numbers will need to be removed anyway.
If you’re printing, save the page numbering for design stage. 9. Section breaks I recommend introducing three asterisks (***) to indicate a section break. You can change them at design stage of course, but they’re handy at editing stage because your editor can see that you intend for there to be a section break. Why not just have a line space? Because sometimes a writer will accidentally hit the return button twice. Your editor will have to spend time working out whether the break is intended rather than focusing on the flow of your text and any errors that need correcting. 10. Pictures/images If your editor needs to check copy against images and their captions, consider placing these in a separate file. Images, especially high-resolution ones, will increase the size of your book file massively, and slow down refreshing when the editor saves. And your editor will save once every few seconds. Sounds bonkers, doesn't it? But the editor who doesn't save regularly is the editor who finds they've lost a precious half-hour's worth of editing because there was a power cut, or a hurricane, or the oven exploded, or whatever. And when they come to email your edited file full of hi-res images, it will be so huge that they'll have to use an external cloud-based transfer service. The file will take an hour to load (unless they have rubbish broadband speed, in which case it will take two or three hours). They'll do the transfer in the evening so that it doesn't slow them down while they're working, meaning their teenage kid will start moaning and giving them that look because Netflix is buffering or Minecraft won't load, or something equally devastating. Save us, I beg you. 
On top of all that, amendments, deletions, and additions to the text will cause your carefully placed images to shift into spaces you didn't intend. Better to leave image placement to interior-design stage. It'll save you and your editor time and tears.
11. Manual tables of contents If you've created a table of contents in a Word file prior to copyediting, there's a good chance that a chunk of your page numbers and some of the chapter titles will be wrong by the time your editor has finished. Of course, you can pay them to fix these too. But that could add an extra hour's work onto your bill. Worse, you'll be wasting your money because when the book's interior is designed, everything will change again. I know this because when I proofread for publishers (and that means I'm working on designed page proofs that have been edited multiple times and designed by a professional interior formatter) the table of contents is always messed up. Sort out your table of contents before you do your final design, not at copyediting stage. It'll save you money, I promise. 12. Manual index I'm adding this one in for non-fiction writers, just in case you're reading. If the page numbers against a table of contents get messed up during copyediting, the damage to an index is nothing short of catastrophic. It's not just the page numbers, but the indexed entries too. Spellings might change, so might compound hyphenation. Some key terms will have been removed or changed. Others will have been added. Indexing should come after proofreading, ideally, but certainly not at copyediting stage. Summing up These are just suggestions, not book law, editing law, any kind of law. However, your editor will love you if you make life easier for them, not because they’re lazy but because they want to focus on making your narrative and dialogue sing rather than formatting text so that it’s readable. There’s absolutely a time and a place for great interior design, but pre-editing stage is not it. Save yourself the bother and keep it simple. For more raw-text tidy-up tips, grab this free booklet: The Author’s Proofreading Companion. 
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
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There's a new podcast in town ... or there will be in January 2019! And it's all about editing and writing for indie authors.
What is it and who is it for?
Editing your book is essential, whether you do it yourself or work with a pro. This podcast will explore ways in which independent authors can make their publishing journeys easier. If you want to learn how to improve your writing and self-editing with tips, tools and guidance, The Editing Podcast is for you. Who are the hosts? Denise Cowle and Louise Harnby are your hosts. We thought it would be fun to have two of us talking with each other rather than one of us talk at you. Plus, we have different but complementary specialist experience, which means we can cover more topics with authority. Why should you bother listening? Because we really do know what we're talking about!
We have a lot in common! Having said that, our editing passions have gone in different directions. Denise is a non-fiction editor while Louise is a fiction specialist. That means we can ensure the episodes are balanced, and of value to indie authors regardless of subject or genre. What we'll be talking about We currently have over 50 topics lined up for discussion. Here's a selection that will give you a flavour of what's in the pipeline:
When and how often will we air? Season 1 of The Editing Podcast will air weekly from January 2019. Each season will include 10 standalone episodes of complementary topics. That means you can listen to them when you want and in the order of your choosing. You'll be able to access the podcast via Apple Podcasts, Spotify, YouTube, our Libsyn podcast page, and both our websites. Get in touch or subscribe We’re really looking forward to making your writing and editing life easier! To stay in the loop, visit The Editing Podcast’s Facebook page and subscribe to our YouTube channel. And if there's a problem you'd like us to solve on the podcast, get in touch.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Good proofreading practice means acknowledging that changing one word, or moving one line, can have unintended and damaging consequences throughout the rest of the book if we aren’t careful.
If we want to proofread for publishers, packagers and project-management agencies, or if we're checking self-publishers' print-on-demand books, we need to be comfortable with working on page proofs.
What are page proofs? The proofreader will usually be asked to work on page proofs. What are they?
'Page proofs are so-called because they are laid out as exactly as they will appear in the final printed book. If all has gone well, what the proofreader is looking at will be almost what the reader sees if they were to walk into a bookshop, pull this title off the shelf and browse through the pages.
The layout process has been taken care of by a professional typesetter who designs the text in a way that is pleasing to the eye and in accordance with a publisher’s brief.' (Not all proofreading is the same: Part I – Working with page proofs) In this case, the proofreader does not amend the text directly. They annotate the page proofs. You might be required to work on both hard-copy page and PDF page proofs – it will depend on the client’s preference. You'll be looking for any final spelling, punctuation, grammatical, and consistency errors that remain in the text. However, you'll also expected to check the appearance of the text. Checks will include the following:
This isn't a comprehensive list but it gives you an idea of how this type of proofreading goes beyond just checking the text for typos. Click on the image below to access this free proofreading checklist if your client doesn't supply you with one. 
CLICK IMAGE TO ACCESS
What's important here is that every amendment you suggest might have an impact somewhere else. That doesn’t mean you shouldn’t make the amendment; it means, rather, that you need to be mindful of the consequences of your actions – the knock-on effects.
What are knock-on effects? Professional proofreaders often refer to the indirect consequences of their mark-up as knock-on effects. A useful way of thinking about this is in terms of dominoes because it provides us with the perfect description of what’s at stake. Imagine you've lined up four dominos: A, B, C, and D. You push over A and it pushes over B. B then knocks over C, which in turn causes D to fall. Domino D’s topple was caused indirectly by Domino A, even though A didn’t touch D. This process can occur on page proofs and can have serious consequences. The changes we make can, if we’re not careful, impact on the text flow, the pagination, the contents list, and the index. 
An example
Here’s an example to illustrate the point. Imagine the publisher’s brief tasks the proofreader with attending to orphans and widows (those stranded single lines at the bottom or top of a page). Solutions that involve instructing a typesetter to shuffle a line backward to a previous page, or forward to the next page, in order to avoid the widow/orphan might cause one, or all, of the following problems:
In all three cases, the proofreader has prevented one problem but caused others. Consequently, good practice involves more than blindly placing mark-up instruction on any given page. Thought needs to be given to how the problem can be tackled and the impact managed so that there is no knock-on effect. Spotting an orphaned or widowed line is not enough. We might also have to consider the following:
Summing up If you’re considering training as a proofreader and want to be fit for the purpose of marking up page proofs, check that your course includes a component about knock-on effects. Even when we are supplied with detailed briefs about an ideal layout, the publisher client expects us to be mindful of the consequences of our amendments. The proofreader’s job is to find solutions to problems in ways that don’t cause unintended damage. (An earlier version of this article was first published on An American Editor.)
Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in supporting self-publishing authors, particularly crime writers. She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP) and an Author Member of The Alliance of Independent Authors (ALLi).
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Here’s how to build a knockout editing portfolio page even if you’re relatively new to the field.
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. 
A partial screenshot of my boring but useful list!
The list: boring but powerful 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 fiction 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. 
Two case studies from the editing studio
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.
Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in supporting self-publishing authors, particularly crime writers. She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, and an Author Member of The Alliance of Independent Authors (ALLi).
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
If you're suffering from yet another dry spell, this free webinar will help you get editing and proofreading work in the next few days and weeks.
I'll show you 10 steps you can take to move out of famine mode quickly.
Forget theory. This is all about doing ... step-by-step guidance on short-term fixes that will give you peace of mind in the now, and head space to dig deeper in the future.
Click on the button below to access the video and the PDF.
Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in supporting self-publishing authors, particularly crime writers. She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, and an Author Member of The Alliance of Independent Authors (ALLi).
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
PerfectIt is the premier consistency-checking software for many professional editors and proofreaders around the world. Developer Daniel Heuman and I sat down for a chat about what's new!
So Daniel was in New York, and I was in a tiny hamlet in Norfolk called Panxworth. Despite the 6,000 miles between us, the construction works going on outside his apartment, and the internet-connection problems in my somewhat rural neck of the woods, we managed to produce a video of our chinwag!
For those of you who want to jump to specific parts of the conversation, here are the key themes and associated time stamps: ▶️ Louise introduces Daniel Heuman, developer of PerfectIt: 00:00:00 ▶️ What PerfectIt does and why it’s useful: 00:00:24 ▶️ PerfectIt Cloud – the new solution for Mac users: 00:04:08 ▶️ Windows users: Should we buy PerfectIt Cloud?: 00:06:12 ▶️ The subscription model and a new lower price: 00:09:27 ▶️ The benefits of up-to-date editing kit: Stability and support: 00:12:27 ▶️ PerfectIt and Office 2016: 00:14:54 ▶️ PerfectIt 4: Online, in the cloud, or both? 00:18:35 ▶️ Features of PerfectIt 4: 00:20:24 ▶️ Sign-off: 00:25:44 And below is the conversation in full. Click on the Play button to begin listening. I've included subtitles in case you need to turn the sound off or can't understand our British accents! There's a full transcript below. I've edited this for readability but essentially it's the words as they were spoken on the day. THE VIDEO THE FULL TRANSCRIPT Louise introduces Daniel Heuman LH: My name is Louise Harnby and I’m a fiction editor, and today I’m going to be talking to the founder of Intelligent Editing and the developer of a piece of software beloved by many editors all over the world. And that’s PerfectIt. Before Daniel and I start chatting about all the PerfectIt news, Daniel’s going to tell us a little bit about what PerfectIt does, because some of you might not know. So over to you Daniel! What PerfectIt does and why it’s useful DH: Thank you! It’s lovely to speak to you! This is very exciting. I don’t know that they’ve ever done a video interview like this before so thank you! OK. PerfectIt – for the people who have not come across it before (which is probably exactly who won’t be watching this, but hopefully they are!) LH: You never know! DH: You never know! Exactly! So PerfectIt is mostly consistency-checking software, and the key place where it comes in is that when you’re editing work it’s almost always under, you know, time pressure, and with a pressure to produce perfect work. It’s ultimately dealing with the fact that everything is going to be on a budget. So given a limited time, what is the best document you can produce? And PerfectIt really fits in there. It saves time; it helps you edit faster. And the way I was trying to explain it the other day was at the ACES conference. I have new way of explaining it ... I thought a little bit about what gets people into editing. And I think that without delving into the deep psychology of what makes anyone an editor, I think one of the things that does not drive people is the difference between tiny consistency mistakes. So, yes, it’s fun sometimes when you spot ‘e-mail’ with a hyphen in one place and not in another but mostly that’s not what’s driving people. People get into editing because you care about words, you like reading, you care about communication, you want to explain stories, you want to help people connect better with readers. And these little tiny mistakes that take so much time to spot are not the reason. They are a distraction. They’re significant because they jump out at readers but they’re not the reason why we get into this. And they’re certainly not the reason why one should be spending a lot of time on a document. LH: And you’re so right because they take so long to deal with. I’ve had manuscripts before where, actually, particularly if an author’s got a budget, people like me are spending perhaps hours and hours and hours when we’re using just our eyes, dealing with these tiny inconsistencies, which as you say are red flags. And, yet, actually what we want to do is immerse ourselves in the narrative in front of us and to make it better. And the more time we can spend focusing on the flow of the words ... because every time you come across a hyphen that’s inconsistent, or inconsistent capitalization, as an editor, you’re dragged out of the flow of the work as well. And so being able to do that, to save time by having a piece of software like PerfectIt to do that for you is just wonderful. And you still get the pleasure of knowing that you’re bringing this consistency to the work. But it is back-breaking doing that manually. I think that’s the thing that a lot of editors feel. It’s just back-breaking work. And I would rather an author paid me to do other things with my time. I want them to feel that I’m going to do those things but I don’t want to have to spend more time than necessary doing it, and that’s where your software comes in. DH: Absolutely, and we put on the homepage something like: you spend the time on what matters most, which is your words and their meaning. LH: Yeah, yeah, that’s exactly it. PerfectIt Cloud – the solution for Mac user LH: So, Daniel, in the past, PerfectIt’s only been available to Windows users. Well, that’s not quite true. I do have Mac-using friends who have been able to use PerfectIt but they have to be running something like Parallels, or I think it’s called VM Fusion Ware or something. Or they’ve had to go buy a cheap Windows laptop. So I suppose that’s the thing that everybody’s talking about. Like, what’s new for Mac users? DH: That is the news! So first off, it’s been touching and amazing, the extent to which people have been going to use PerfectIt. Like you say, they’ve been installing Parallels. People have been buying computers to run this program, which is touching. I know that buying another computer doesn’t cost as much as it used to but, still. But for Mac users who hate Windows and just run it for one program has been phenomenal to see. But yes, no longer! So we are producing PerfectIt Cloud, which is ... you’re going to have to forgive ... in the background you can probably hear the construction noise! I’ll do my best to speak over it. So we’re producing PerfectIt Cloud, which is an Office Store add-in. And the great thing about Office Store add-ins is that they are compatible in any version of Office 2016. So if you are on a Mac, if you’re on a PC, if you’re on an iPad, even in Word Online (which I don’t know that anyone actually uses), no matter which version you’re on, you see the same add-in. So the functionality is exactly the same across. And we’ve been developing this for ... I mean, you know, the amount of times people have heard me saying, ‘A Mac version is coming soon. It’s just a few months. It’s just a few months.’ But, no, as of 26 June we will have PerfectIt Cloud, which brings compatibility to Mac and to iPad for the very first time. So it’s really exciting! Windows users: Should we buy PerfectIt Cloud? LH: So what about Windows users? I have PerfectIt 3. I’ve had all the versions since it first launched. I work on a PC. Should I rush out and get PerfectIt Cloud? DH: In a word, no. So the introduction of PerfectIt Cloud is primarily for Mac and iPad users at this stage. So if you’re using PerfectIt 3, if you’ve got a Windows PC, that’s still going to be the best version that we offer. And it’s going to be strange because PerfectIt Cloud looks so much better! The interface is even easier than it was before. It’s a beautiful product, but underneath there are a few things that PerfectIt 3 can do that we haven’t been able to do for Cloud yet. So the most important one of those is customization of styles. That’s still going to take some time to bring into PerfectIt Cloud. The ability to check footnotes – we’re going to be dependent on Microsoft for them to make some changes before we can bring that in. So if you have PerfectIt 3, if you have a PC, in most cases the thing to do is not to rush out, and not to buy this at least until we produce a new version for the PC, which will be PerfectIt 4. There’s one exception, which is, you know, all those people who ... the ones, the amazing wonderful users that you’ve described who have gone and bought VMware, and Parallels, and even separate computers. A bunch of those users are really frustrated with having to turn them on every time, and going through Windows updates, which take forever. And just to get PerfectIt up and running takes two hours. And it’s saving them a lot of time so they do it, but if you’re one of those people who has both a PC and a Mac, in those cases, yes, you would. Not all the options are included but it’s close enough that you may not want to be uploading and updating your Windows computer each time just to run PerfectIt. LH: Yeah, and I suppose also for people perhaps who are, I don’t know ... I was thinking about the increasing number of editors who are location-independent. And, actually, maybe they don’t always have the latest ... you know, they’re don't want to be worried if their computers break ... and the idea perhaps of just knowing that it doesn’t matter which PC you’re on, or which Mac you’re on, that if you’ve got something, a machine in front of you, you can do your work and you can access the core functionality of PerfectIt wherever you are. And that’s an important thing, I guess. I mean, I’m not location- independent. I am very much dependent! I’m in Norfolk with a rubbish broadband speed and so I’m kind of quite keen to keep things offline and local when I can. But knowing that I’ve got the choice – that will be a big issue for me. The subscription model and a new lower price LH: Can we talk about price now? Because in the past, once every two or three years, you bring out a new version, and I’ve paid you, I don’t know, $90? I can’t remember the price off the top of my head. So that’s the way it’s worked. But you’re doing things slightly differently now, aren’t you? DH: Yes. So we are switching to a subscription ... sort of a subscription. And I know the minute I use that word people are turning off this video, don’t want to know anything more. because everyone is sick to death of subscriptions with, you know, Netflix and Amazon, and, oh my God, you can get a subscription for your vegetable delivery now, which is bonkers! But I think what we’re doing is really different to that. We switched to a once-a-year payment. At this point at least, there’s no handover-your-credit- card or anything like that. You pay each year if you want to continue using it. And switching to that kind of model means we can drop the price by a lot. So instead of being a $99 one-off purchase, we’ve made it $70 per year. And on top of that, we’ve really dropped the price for, you know, independent editors. So we’ve worked with as many of the editing societies around the world as we can – certainly all the big ones – to have a kind of a discount. And that’s going to be an additional 30%, so the price is going to be just $49 per year for independent editors who are, you know, a member of any of the big editing societies anywhere in the world. So subscriptions mean we can get down the price down a lot, and they mean we can create a really compelling, simple offer, which is that you will buy PerfectIt and then you will get any version you want on any number of devices you want, and not pay a separate charge, which I think is really what bothers a lot of people. So you buy PerfectIt and you can install the PC version on your PC, you can install the Cloud version on your iPad. You only pay once for that and you don’t get stuck with that additional charge you described, which was the upgrade charge. So, yes, we used to have a one-off price but people liked this product and much more than 60% of people paid the upgrade price anyway. So, really, there was a hidden recurring element. And by switching to ... we can call it a subscription, we’ve made everything included in that price very transparent. And you get all the upgrades, you get all the updates, you get support. So I think the way we’ve switched the pricing is really gonna be attractive, and especially attractive for independent editors. The benefits of up-to-date editing kit: Stability and support LH: I think it’s wonderful because, I mean, I’m a big fan of the subscription model, even with things like Microsoft Office, because I’m a professional, I want the latest software, and I want it to work in an environment that’s stable as well. And so I like having the most up-to-date version of Word. I had a situation a few years back when I first plonked a download of Windows 10 on my Windows 8, or Windows 7 computer or something, and I was trying to get PerfectIt to operate in an environment basically with two operating systems, and guess what? It wasn’t happy. And so at that point ... because PerfectIt was key to my editorial day-to-day working, it was one of the things that triggered me to actually think, ‘You know what? You need to get yourself an up-to-date computer with the latest operating system already installed, so it's not fighting with anything else.’ And to know now that I’m always going to be running the latest edition of Word on the latest operating system and that the plugins that fit into that software, like PerfectIt, are going to be the latest editions too ... for me, that’s just one less worry. It means that I can get on doing the business of editing rather than thinking, ‘I want to be able to do X, Y or Z but I can’t because it’s broken.’ And so I’m really excited about this because, as you say, it’s upfront, it’s clear, everybody knows what they’re gonna pay and what they’re getting. And you mentioned something there as well, and that was the issue of support. Because in days past, it was the case that if you decided to stick with an older version of PerfectIt you wouldn’t have access to you. And sometimes, you know when you get stuck on things, you just want to be able to ask the person who actually really knows the answer. It’s not guesswork. And knowing that that’s always going to be ... you get the full package. So I’m really excited about it. I think it’s a really good deal. I think the price is a steal as well. And for those of us who are members of professional societies, what a perk of membership to know that you can get one of your core pieces of editing software at such a huge discount! Thank you! DH: Yeah, those societies and the editors within them are absolutely the reason why we are where we are today. That’s been the core of this business so now I absolutely think that it’s important to support them. PerfectIt and Office 2016 DH: And I agree with you completely about thinking about Office and updates that way. I know that a lot of editors have been disappointed when we’ve said that PerfectIt Cloud is only gonna work in Office 2016. And they said, ‘Well, I’m never moving to Office 2016 because I’ve heard all these terrible things about it.’ And I just wonder every time I hear that ... I think, I know those stories are true – when you have a piece of software like Microsoft that is installed everywhere then you always are going to have some things that don’t work and that are gonna get on Facebook. And they’re gonna look to seek help. And they’re always going to be the ones who have some kind of problem. You never get someone who installs the latest version of Microsoft and says, ‘Yep, that worked’ and tells all their friends. So our perception of these versions has been really sort of distorted by, I think, the relatively lower number of people who have had problems in perspective to the total, in relation to total. And as you say, when you actually look at the package and what Microsoft are offering, I think it’s really good. And I’m fortunate that I’ve never had any sort of problems with it. I’ve used Word on the iPad, I use Word on the PC. I think they’ve done a really good job of making those two similar and in line. In the past, there’s been big differences between those things. You know, I was able to switch as a long-time PC-user to the iPad version. I had no trouble doing that. And they do it at a low monthly price. And what I’ve sort of been saying to anyone who’s asked about it is something like, yes, there are some users who’ve had problems, and there have doubtless been lots of glitches, and there always are with endless Microsoft updates, but what about trying it for one month? They offer a monthly price. And see if it works for you. And you’ve got your old version and you can always go back, but those old versions, they’re at this point ... you know, Microsoft has stopped supporting Office 2011 anyway, so we’re out of that period really. Yeah, I think I think as you say, the package they’re offering is very good, and especially the kind of value in the monthly offer. It makes a lot of sense. LH: Yeah, and I think the other thing to mention is that, you know, I think sometimes there are people in, well, not just the editing community but all sorts of communities who are trying to run say 2016, or with all the updates, 2018 software but on decade-old computers. And that’s a bit like taking your mobile phone to medieval times and complaining you haven’t got signal! You know, we need as editors to be, I think, working with the latest equipment. Within a budget, of course. Most of us aren’t rich. But I always think, get the best RAM you can ... get the best processor you can for your money. And then things like PerfectIt, within Word, within Microsoft Office, will work the best for you. DH: Absolutely! And we all make these mistakes! I’ve been screaming at my printer all morning and pressing over and over again, and wasting so much time trying to get this printer to work. And I know the reason why it doesn’t work – it’s because it’s really old, and would cost next to nothing to replace. But, you know, we’re old enough to remember that these things used to be very expensive, and it’s so difficult to get rid of them. But, actually, you know, when running a business, to spend my morning yelling at a printer is probably not the best use of my time! PerfectIt 4: Online, in the cloud, or both? LH: So can I just check something with you? Can we talk then about the next version of PerfectIt that will be also usable locally? So we’ve got PerfectIt Cloud but there’ll come a point I’m assuming when there’ll be the next version, like PerfectIt 4 that will be in the cloud. Will that also be something that someone like me who’s got a little bit of an iffy broadband connection can, if they want to, download to their computer? DH: Oh, so we are NOT moving to the cloud in any way, shape or form. We’re doing very much that kind of approach that Microsoft has gone for where you pay once and you have different parallel versions for different devices. We are not switching to the cloud. There will always be a local version. As I said earlier, it’s still kind of the best version for a number of reasons. And so at the moment, if you get a subscription, you will get PerfectIt 3 and PerfectIt Cloud, and as of the end of this year you’ll get PerfectIt 4 and PerfectIt Cloud. And we’ll keep the two in parallel so that they’re running off ultimately the same code, so that you’ll get the update for PerfectIt 4 locally, and at the same time, almost at the same time, we will update PerfectIt Cloud automatically, and they’ll offer the same checking. LH: OK, great, that’s good. I just wanted to be sure of that because ... just because my broadband is a bit of a nightmare here! DH: No, no, I don’t think we communicated that properly in our in our literature so it’s a really good question to ask. I’m sure a lot of people will be concerned about that. Features of PerfectIt 4 LH: So can we talk about ... do you have any specific plans for what will be new with PerfectIt 4 yet, or can we suggest things? DH: Well, obviously, I’m going to dodge that question because the trouble with that question is that if I start saying we’ve got plans for PerfectIt 4, that we’re working on ... I suspect if I start saying the things that I’m working on, the disappointment that will follow when we say we’ve failed ... [laughing]. But I like the idea of suggestions. As I said, this business has very much been built by support from editors, and feedback from editors. So if we wind the clock like all the way back to the first time that I was at SfEP conference, I remember someone mentioning en dashes and and why they could be in the hyphenation-consistency check. And let’s let’s be honest, at that point, which was been ten years ago or so, I didn’t understand the significance of that. Why would we need to be looking for en dashes and hyphenation? What’s the point? And actually it was that feedback which we then took on. And it got quite a few people explaining and saying, well, actually, this is the error that we’re looking for. This is what comes up. It’s really difficult to spot because of this. Is there anything you can do? And I think it was in PerfectIt 2 but certainly in PerfectIt 3. And we’ve built in an en dash versus spaced-hyphen consistency check. LH: And em dashes too. DH: Yes, the way we do the checking for those is a little different but, yeah, it ultimately came down to the same reason, which is editors suggesting that these were the things that they wanted to see. And I’d love to get those suggestions for PerfectIt 4. So, particularly ... LH: I’m thinking legal and medical might be obvious. DH: Yes, legal. I’ve got a long, long list of changes that we want to make for legal, but medical, pharmaceutical scientific ... I know we have a lot of editors working in those kinds of fields and I feel like we haven’t done as much for them as we should and could. So I’d love to get suggestions from every kind of editor, but especially those ones would be really good, because we need to do more in that area. LH: And speaking as a fiction editor as well, I think there are certain functions I’m using ... the possibilities are there but there are certainly things I could think of in terms of the similar-word-find function that maybe even we could put forward some suggestions that might help you to push that stuff further forward, and help us to adapt the style sheets more so that we could get more benefits in that field too. And I’ll certainly be thinking if there’s anything else from a fiction point of view that I can push your way. DH: Definitely. You know, we always get a nonfiction writer saying, ‘Can this be used for nonfiction too?’ We get fiction writers saying, ‘Can it be used for fiction?’ And we hadn’t been quite communicated clear enough that, yes, it’s for all of those things. And, yeah, the similar-words function. Lots of people are using that for character names. Can we improve that? Can we make it clearer that that’s a possibility for character names? Can we look and see if there are ways of improving that? And already you have got me talking about features that I swore just two seconds ago I wouldn’t get into! Some of those things people are really gonna be telling me, ‘But you promised, but you promised!’ I will avoid saying more about that but I am excited by that kind of change and by doing things that are specific to different kinds of editing, for sure. LH: I think from my point of view as an editor, and for people who are watching this who haven’t tried PerfectIt yet, knowing that you’re responsive to ways in which you can develop the software is a really important thing to emphasize, because the various iterations that I’ve used over the years have just got better and better. And that means I’ve saved more and more time. And so I want to say to people that when you invest in this software you are working with a company and a business owner who will listen to you, and that's a good thing. DH: Thank you! And my guess is that at this point in the video, between the dogs barking outside and the helicopter going overhead, anyone who is completely new to this software will probably have stopped watching 20 minutes ago! But, yes, anyone with us longer hopefully has experienced that we are ... it’s actually the other way around. It’s editors who’ve helped build this and made all this stuff possible, so we are absolutely listening, and will continue to iterate and improve. If we improve the product for actual editors, everyone else who uses the software benefits. And, you know, we really have the best people in the world advising us, so I think it’s fantastic. Sign-off LH: Daniel, thanks very much! That’s been really, really useful. So I’m excited about ... not just the cloud but also PerfectIt 4 coming out. I’m excited that I’m going to be able to use it on multiple platforms, in different spaces. I’m excited that I’m going to be able to get it cheaper than I did last year! So thanks for taking the time to talk to me. It’s been brilliant. DH: Thank you! And thank you for all the support through all the years. The excitement and enthusiasm is so encouraging after we’ve been telling people, you know, soon, soon just another month, just another couple of months. Now that it’s done, now this here, it’s fantastic! Thank you. 
Contact Daniel Heuman: daniel@intelligentediting.com
Visit the PerfectIt website: www.intelligentediting.com Don't forget to check whether there's a discount available via your national editorial society.
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Have proofreading symbols passed their use-by date? It’s a controversial question, but one that we definitely need to ponder. So, as an unconventional ‘celebration’ of 30 years in publishing, Melanie Thompson is setting out to answer this question – and she needs your help ...
Over to Melanie ...
A few months ago a colleague asked me whether (UK-based) clients want proofreaders to use British Standard proofreading symbols or whether they prefer mark-up using Acrobat tools on PDFs. ‘Good question,’ I replied. ‘I hope to be able to answer that later this year.’ That probably wasn’t the answer they were expecting. The widely different expectations of clients who ask for ‘proofreading’ has been niggling at the back of my mind for a couple of years. What's changed in three decades I have been a practising proofreader for 30 years, I’ve managed teams of editors and proofreaders, and I’ve been a tutor for newcomers to our industry. Yet I still learn something every time I proofread for a new client. It’s several years since I was last asked to use BS symbols for a ‘live’ project,* but I use them a lot on rough draft print-outs – because they’re so concise and … well, let’s face it, to some extent those symbols are like a secret language that only we ‘professionals’ know. I like to keep my hand in. But proofreading is now a global business activity, and ‘proofreading symbols’ differ around the world – which kind of defeats their original objective. And now so many of us work on Word files or PDFs (or slides, or banner ads, or websites or … ) and there are other ways of doing things. This all makes daily work for a freelance proofreader a bit more complicated (or interesting (if challenges float your boat). We might be working for a local business one day and an author in the opposite hemisphere the next. It’s rare, but not unheard of, to receive huge packets of page proofs through the mail and to have to rattle around in the desk drawer to find your long-lost favourite red pen. Usually, however, things tend to arrive by email or through an ftp site or a shared Dropbox folder. Digital workflows 
MELANIE THOMPSON: DEALING WITH DIGITAL WORKFLOWS FROM A STANDING DESK!
The ‘digital workflow’ is something we’re now all part of, whether we realize it or not. But clients are at different stages in their adoption (or not) of the latest tools and techniques, and that leaves us proofreaders in an interesting position.
We need to be able to adapt our working practices to suit different clients; ideally, seamlessly. For that, we need to understand what the current processes are, and what clients are planning for the future. And that’s where I need your help. A new research project: proofreading2020 I’ve launched a research project, proofreading2020, to investigate proofreading now and where it might be heading. 
The study begins with a survey, asking detailed questions about proofreading habits and preferences. Once the results are in, I’ll be conducting follow-up research for case studies and, early in 2019, publishing the results in book form.
You can find out more and complete the survey at proofreading2020. It's open now, and closes on 30 June 2018. Almost 200 proofreaders, project managers and publishers have already completed the survey. Several have contacted me to say it was really useful CPD, because it made them think about how they work and why they do things. So I hope you’ll be willing to set aside a tea-break to fill it in. It takes about 20 minutes to complete, but it’s easy to skip questions that aren’t relevant to you. There are only a handful of questions (at the beginning and end) that are compulsory (just the usual demographics and privacy permissions). Beyond that, the sections cover the following:
Your chance to join in!
Find out more and complete the survey at proofreading2020.
Don't forget, the closing date is 30 June 2018. * If a client does ask for BS symbols, I recommend downloading Louise’s free stamps for use on PDFs – they will save you a lot of time and help you deliver a neat and clear proof.
Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Editors on the Blog is a monthly column curating some of the best posts from the editing community – articles written by editors and proofreaders for colleagues and clients alike.
My thanks to this month's contributors! 
THE BUSINESS OF EDITING
CLIENT FOCUS
EDITING IN PRACTICE
FREELANCE LIFE
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
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 … 
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. He's running a session at the SfEP annual conference in Lancaster in 2018 so you can meet him there. If you want to get in touch beforehand, here's what you need:
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Here's a treat for PerfectIt users ... a custom style sheet that includes the find-and-replace strings in my free ebook, The Author's Proofreading Companion.
If the Companion has made your life easier, you'll love what my colleague Andrea Kay of Yours Truleigh Editing has done. Yep, she's upped the efficiency game for all of us by creating a custom style sheet that can be imported into PerfectIt.
Thank you so much, Andrea! For those unfamiliar with either the software or the booklet, I've provided an overview of both, and the benefits of importing the style sheet. Andrea's also created a style sheet for the Student Proofreading Toolkit. Double thanks! Below that are the installation instructions and the ready-to-download files for the Companion and the Toolkit.
What's PerfectIt?
For those readers who are not familiar with this software, PerfectIt is a sophisticated consistency checker that works with Microsoft Word. By customizing its built-in style sheets, or creating your own, you can define your preferences and let PerfectIt locate variations and possible errors. I recommend every professional editor add it to their toolbox. You can read my more detailed review of the product here: PerfectIt 3 – must-have software for the editorial freelancing pro. If you don't yet have PerfectIt, contact Intelligent Editing for pricing and download information.
What's The Author's Proofreading Companion?
This free ebook helps editors and self-publishing authors tidy up Word documents. In addition to showing you how to use some simple macros, it includes search strings to help you locate and fix potential problems, including rogue spaces at the beginning and end of paragraphs, double line returns, tabbed paragraph indents, lower-case letters at the beginning of paragraphs, paragraphs that end with no punctuation, and more.
What's the style sheet?
Andrea Kay just saved PerfectIt users a ton of time by building an importable custom style sheet that features the key search strings from the ebook! That means you don't have to manually type the strings into your Word document one by one, then repeat the process each time you work on a new document. Instead, import the style sheet, run PerfectIt, and let the software locate the potential problems for you. All you have to do is decide whether to implement the suggested change in your document. How to import your style sheet Importing the style sheet is a doddle, I promise, Follow the instructions and screenshots below. If PerfectIt is already installed, the process will take no longer than 20 seconds. 1. Unfortunately, I can't upload the files to Weebly, so I'm using my bot Lulu and delivering via Messenger. Click on the green button below. That will take you to a post on my Facebook page. There you can comment with the word 'perfect' and Lulu will send you the files. Click on each one to download to your device.
2. Once you've installed PerfectIt, open the Word document you want to check.
3. Launch PerfectIt. 4. Click on Manage Styles. 
5. Click on the Import button.
6. Select the pft from your device and click OK.
7. Click OK in the Manage Styles window.
8. Select the your pft from the Current Style drop-down box.
9. To run PerfectIt on your current Word document using the custom style sheet, press Start.
If you're not a PerfectIt user ...
If you're not yet ready to invest in PerfectIt but still want access to the find-and-replace strings and other tools in the ebooks, click on the images below. They'll take you to the download pages. They're free and you won't have to hand over any personal data to access it. Enjoy!
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
If you’re an editor, making Word work hard for you is a must. The new and revised edition of Editing in Word 2016 is one of my recommended resources. Here's why.
I’m a fiction editor who works solely for indie authors and self-publishers. I work on raw-text files, and Microsoft Word is one piece of software that I cannot afford to be without.
Word has its snafus but I don’t know of any word-processing software that comes close to offering its superb functionality. I don’t just edit in Word; I’ve also created print- and digital-ready books directly in it. So when fellow editor and author Adrienne Montgomerie asked me to review the second edition of Editing in Word 2016, I couldn’t wait to get stuck in. I’ve been using Word since 1991, so could Montgomerie teach this old dog a few new tricks? How about younger pups? Let’s see ... More than an ebook This is a digital self-study course. Yes, you get the ebook with all the contextual information and foundational teaching. But there are also videos that show Word in action, and a bunch of exercises with which to practise what you learn at each stage of the process. I love the fact that the advice is actionable. You read, you see, you learn, and then you do. There’s no better way to ensure it’s all sunk in. A focus on core tools
‘We need a resource that gets right to the tools editors can’t live without; the tools that make our job easier and faster. We need to know about the tools that are the very reason we use Word at all.’
PREFACE, Editing in Word 2016
We certainly do. Here are some of the tools that Montgomerie focuses on:
If you don’t know 8 out of 10 of the above tools inside out, you’re likely not as efficient or productive as you could be. That alone makes this course a worthy purchase. That it’s a steal at just under 25 quid (excluding VAT) makes it a no-brainer. Let’s dig a little deeper ... Screens, operating systems and how we work with Word One of the best things about this course is its acknowledgement that editors work in different ways.
Top tips This course is rammed with useful and actionable tips on how to get stuff done and in ways that respect your preferences. For example:
And along the way, Montgomerie includes ‘Pro tips’, ‘Read more’ and ‘Troubleshooting’ callouts to keep you on track. Video demos I’m a big fan of multimedia learning. And when it comes to editing, sometimes just hearing your tutor’s voice and watching them go through the motions onscreen can trump the written word. In addition to the ebook, there's a support website with 27 video tutorials for both Mac and Windows users. 
This feature is excellent. I’ve come across a lot of editors who’d like to enhance their digital skills but are held back through fear. Montgomerie takes the stress away via accessible walkthroughs that even the most tech-nervous of nellies will be able to follow.
Here are just 3 examples:
Practice makes perfect There are 24 exercises in this course that help you to hone your skills and start doing what’s written in the book and shown in the videos. Just a few examples include:
A note on versions This course was created in 2017 using Word 365 on Windows 10 and Sierra OS. Given that the author’s using the latest software and operating systems, you might find that the instructions need a little tweaking here and there if you’re using medieval Word (or should that be Wordeth?)! For example, older versions of Word might have different ribbon displays, icons and menu options. That’s unavoidable, and a reminder that, as professionals, we should be aspiring to use up-to-date equipment. I’d prefer my dentist not to fill my teeth with 10-year-old composites; we should treat our clients similarly. My verdict Did I learn anything new? Yes, I did. But editorial training isn’t just about finding out what you don’t know; it’s also great for affirmation of what you do know. I was pleased to learn from a pro that a lot of my Word usage is on track. Here’s another thing, though: there are functions in Word that I use infrequently (e.g. erasing time stamps). I know it’s possible but I’ve simply forgotten how. And instead of trawling Google or spending valuable time asking questions in editing forums, I can have Editing in Word open on my desktop. From there, I can search, locate and solve my problem in seconds. I recommend this without reservation for any editor who wants to get the very best from Word with a one-stop shop, especially those who've been held back by fear. Montgomerie will take that away from you – I promise. Information and access
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Blogging for Business Growth is open for registration now! Learn how to build an editorial business blog in 13 steps.
About the course
In 13-steps, Blogging for Business Growth shows you how to build a discoverable, captivating and memorable blog-based content platform that drives traffic to your website, makes you visible in the search engines, and compels clients to get in touch. It doesn't matter where you live. The principles underlying the teaching are relevant to you as a global editor with a potential global client base. And there are no time restrictions on the training. Once you've bought a course you can access the materials whenever you wish ... for as long as you wish. What's included?
Course curriculum
The course is designed so that you can build a purposeful blog step by step. Topics include:
The webinar and written materials
The webinar takes you through the key steps to building a blooming blog that will drive visibility and offer compelling value to potential clients. The complementary ebook includes the core written content and links to all the tools and resources I cite in the webinar.
Additional PDF booklets help you with the following:
Plus, I've created a sample for you so you can see how you might summarize key learning points and drive your editorial business blog forward. I use the example of an editor who specializes in working with writers of children's books.
Additional video tutorials
Each course comes with additional tutorials available exclusively to Fingerprint students ... videos that show you how to use some of the tools I refer to in the training. However, the content will expand over time. If there's something extra you need directly related to the course, just ask me. I'll create a custom walk-through ... but you won't pay a penny more. Scroll through the slideshow below to see what's on offer.
Early-bird registration is open!
Registering your interest doesn’t oblige you to buy the course. It just means you’ll be contacted when the course goes live in mid-April and given the option to order at the reduced price. And if you’ve already bought my social media course, you’ll be able to use the additional voucher on the course page that gives you even more money off! Early-bird registration closes on 20 April 2018. Register now to save 20%!
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
If you think there's no place for macros in fiction editing, think again. My friend Paul Beverley has collated a core group of macros that will have any fiction line editor, copyeditor or proofreader drooling! Self-publishing authors will love them too!
I don't use all of these (every editor has their preferences) but some of them are staples and save me oodles of time! 
Some of the macros apply when you’re looking at the whole text of a novel, while others are selective ... for use while you’re editing line by line. Bear in mind that they're designed to be used with MS Word files.
Macros that work with the whole text These macros are ideal near the beginning of the edit, when you’ve put together the whole book in one single file, and you want to look for inconsistencies. ProperNounAlyse searches the novel for any words that look like proper nouns; it counts their frequency, and then tries to locate, by using a variety of tests, and pairs of names that might possibly be alternative spellings or misspellings, e.g. Jayne/Jane, Beverley/Beverly, Neiman/Nieman, Grosman/Grosmann etc. 
FullNameAlyse is similar to ProperNounAlyse, but it searches for multi-part names, Fred Smith, Burt Fry, etc.
ChronologyChecker is aimed at tracing the chronology of a novel. It extracts, into a separate file, all the paragraphs containing appropriate chronology-type words: Monday, Wednesday, Fri, Sat, April, June, 1958, 2017, etc. This file is then more easily searchable to look at the significance of the text for the chronology. WordsPhrasesInContext tracks the occurrence of specific names through a novel. You give it a list of names/words/phrases, and it searches for any paragraphs in the novel that contain them. It creates a separate file of those paragraphs, with the searched element highlighted in your choice of colour. CatchPhrase searches your novel for over-used phrases and counts how many times each phrase occurs.
Macros for when editing line by line
FullPoint/Comma/Semicolon/Colon/Dash/QuestionMark/ExclamationMark These macros change he said, you know ... into he said. You know ... or he said: you know ... or he said – you know ... and so on. FullPointInDialogue and CommaInDialogue These two macros change “Blah, blah.” He said. into “Blah, blah,” he said. and vice versa. 
ProperToPronoun
This macro looks along the line to find the next proper noun, deletes it and types ‘she’. But if you then type Ctrl-Z, it changes it back to ‘he’. MultiSwitch You give this macro a list of changes that you might want to implement: Jane Jayne Beverley Beverly that which which that When you click in a word, and run the macro, it finds your alternate and replaces it. It also works with phrases and can also provide a menu of alternates: he said he opined he shouted he voiced she said she opined she shouted she voiced 
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Proofreading for publishers is something every professionally trained new entrant to the field should consider. Many of my experienced colleagues work exclusively for publishers. I used to and don't regret it for a minute.
And it can be profitable, despite what you might have heard. 
Just a few of the benefits of publisher work include:
Some proofreaders are finding that publisher work is not as profitable as it once was. Perhaps the fees haven't increased in real terms, or the proofreader is being expected to check more words per paid page. Being efficient has become key to sustaining these valuable client relationships. The PDF below includes some tips and tricks on how to make proofreading for publishers (and packagers) profitable by spicing up your digital efficiency. The advice is based on my experience of working for academic publishers for over a decade. Click on the image to download your free copy. I hope you find it useful. 
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Anna is training to be a proofreader and plans to set up her own business in the near future. She’s ready to upgrade her kit but wants to make sure her investment is fit for purpose.
Says Anna:
At the moment I am working on an old-ish MacBook Pro but know I need to upgrade very soon. The dilemma is whether to buy an improved laptop or move to a desktop. My preference is for Apple products as I know my way around them better. I’m tempted to get a better laptop. I like the freedom of being able to move around and I often travel. But I know that a desktop would give me a significantly bigger screen. What are your thoughts on screen size for proofreading? How important is it to have a large screen, or is it easier to use two screens side by side at times? And if you use a laptop how small a screen would you consider too small?
Hi, Anna!
Great question. In short, I think you should go for what suits your lifestyle best. But let's look at some options. The greedy option This is my choice! In my shed, I have a desktop with two large screens. In my house I have a backup 14” notebook. 
Some of my editing colleagues have three or four large screens rigged up to their desktops. That’s great if your machine can handle it (some can’t) and if you have the space (some don’t).
If I’m honest, until recently I considered it unthinkable to work five hours a day on my HP Pavilion notebook. My desktop and double screenage setup was a necessity! I suspect there's evidence of that thinking somewhere here on the blog! But that’s hogwash. In November, a family member became poorly and I had to relocate from my office (at the bottom of my garden) to the dining table in my house. 
We’re now past the middle of January and I’m still there, though I’ll be heading back to the shed in a week.
But you know what? It’s been fine ... more than fine. Yes, I've had to toggle a lot more but that’s such a first-world problem! And I do have a second screen! My pal and fellow editor Kat Trail told me about an app called Duet that allows me to hook up my Windows notebook to an an iPad ... MS to iOS. Who'd have thought? And she showed off her new lap-desk. Like a sheep, I bought the whole caboodle! It works like a dream. Thanks, Kat! 
The light option
You say you like to travel. Meet Kate Haigh, another editor friend of mine. She’s location independent. She works with a laptop and nothing else. It gives her the flexibility and mobility she needs to travel the world. She’s in Guatemala City as I write! Once upon a time, she had multiple large monitors, but she adapted. Given your itchy feet, you might like to read her posts about location-independent editing and proofreading (see the Taking Your Proofreading Service on the Road series via For Editors and Proofreaders section on the Kateproof blog). There are lots of tips and tools on offer for editors who want to lighten the load. One of Kate’s favourite pieces of equipment is the lightweight, foldable Roost laptop stand If you decide to commit to a new laptop but want an additional largish monitor, hook up your existing MacBook Pro or splash out on an additional monitor especially for home use. What’s too small? I’d recommend a screen that's at least big enough to house the full width of one page at a viewing scale that’s readable, with some room in the margins to spare. That way you can call up a navigation pane in the sidebar without having to scroll across the page. Additional navigation panes could include the Find pane in Word or the Bookmarks pane in a PDF reader. I can achieve this comfortably with my 14” notebook screen. Beyond the screen: RAM and processor I think that screen size is less important than RAM and a decent processor. The more programs we’re running, the bigger the demands on our kit. When we’re professionally editing and proofreading, we’ll likely have multiple files open simultaneously. We’ll be running Word and/or PDF readers. We’ll be using additional software (macros, for example) to complement our beady eyes. And there are online tools and resources (e.g. email, dictionary and style manual) that we’ll need to access. Regardless of whether seeing all that stuff requires a quick keyboard toggle or is viewable on multiple screens, it’s greedy. Focus on performance first and screen size second. Smaller screens can be adapted to. Poor processor performance and memory can’t – they're just a frustration and will slow you down. Back to my notebook: the screen is only 14" but it has an Intel Core i5 7th gen processor (not the highest spec but good enough), 8GB of RAM, and a 256GB SSD, all of which means the machine can fire on all cylinders while I'm putting it through its paces. In a nutshell You don’t need one large screen to do a pro job. You certainly don’t need three. You might well find them rather marvellous if you have room and are not looking to go anywhere anytime soon. But if they’re going to clutter up your living space and remain unused much of the time because you’re on the road, they’re a waste of your money. Invest in the equipment you feel comfortable with and that works hard for you, and you’ll not go far wrong. Good luck with your training!
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Available now!
Social Media for Business Growth shows you how to use social media platforms to increase your visibility, expand your audience, reinforce your brand and generate leads ... without falling into a rabbit hole and without spending any money. 
This is the first course in the Craft Your Editorial Fingerprint series ... online marketing classes that enable editors, proofreaders, indexers, translators and other wordy folk to develop a compelling and recognizable business presence.
The social media kit You'll receive access to a social media fingerprint kit comprising:
No limits on access Some online courses restrict the period of access to the materials. I think you should be able to choose when you study. After you've bought Social Media for Business Growth you can access the class whenever you wish ... whether that's immediately after you've created your login or 8 months down the road. And for your convenience, you can download the supporting PDFs to multiple devices, multiple times ... whatever works best for you. Just log in, watch, click and grab whenever you like. On-demand tutorials ... at no extra cost My training approach is dynamic. Here's how it works ... Each course comes with additional tutorials available exclusively to Fingerprint students ... videos that show you how to use some of the tools I refer to in the training. However, the content will expand over time. So if there's something else you need that's directly related to the course, I'll create a custom walk-through, visible to you and any other student who's bought the class ... but none of you will pay a penny more. And because there are no time restrictions, you'll have lifetime access to an ever-expanding library in which to achieve your goals. For more details about the class content, or to sign up, go to Social Media for Business Growth.
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Countdown to Christmas finishes today and this is your final gift – I hope you find it useful!
Click on the image below to get your resource! 
Merry Christmas!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.
Every day until 25 December, I’m giving you a little gift – a postcard about one of my favourite FREE business tools. Each card tells you what the tool does and how you can access it.
There’s something here for everyone – editors, proofreaders, writers and other small business owners. The tools featured will help you with editing, marketing, fact checking and working with images – just lovely things to make life easier. Click on the image below to get today’s resource! 
Come back tomorrow for another holiday gift!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.
Every day until 25 December, I’m giving you a little gift – a postcard about one of my favourite FREE business tools. Each card tells you what the tool does and how you can access it.
There’s something here for everyone – editors, proofreaders, writers and other small business owners. The tools featured will help you with editing, marketing, fact checking and working with images – just lovely things to make life easier. Click on the image below to get today’s resource! 
Come back tomorrow for another holiday gift!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.
Every day until 25 December, I’m giving you a little gift – a postcard about one of my favourite FREE business tools. Each card tells you what the tool does and how you can access it.
There’s something here for everyone – editors, proofreaders, writers and other small business owners. The tools featured will help you with editing, marketing, fact checking and working with images – just lovely things to make life easier. Click on the image below to get today’s resource! 
Come back tomorrow for another holiday gift!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.
One of my author clients asked me how to set up automatic blog-post delivery to her subscribers via MailChimp. Here's a video walk-through.
MailChimp frequently updates its settings. If you find this video no longer works for you, feel free to give me a nudge so I can create a revised tutorial. If you prefer to read the instructions, here they are: Assumptions
Step 1 (as of December 2017)
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
Step 8
Step 9
Step 10
Step 11
That's it! You're done!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Every day until 25 December, I’m giving you a little gift – a postcard about one of my favourite FREE business tools. Each card tells you what the tool does and how you can access it.
There’s something here for everyone – editors, proofreaders, writers and other small business owners. The tools featured will help you with editing, marketing, fact checking and working with images – just lovely things to make life easier. Click on the image below to get today’s resource! 
Come back tomorrow for another holiday gift!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.
Every day until 25 December, I’m giving you a little gift – a postcard about one of my favourite FREE business tools. Each card tells you what the tool does and how you can access it.
There’s something here for everyone – editors, proofreaders, writers and other small business owners. The tools featured will help you with editing, marketing, fact checking and working with images – just lovely things to make life easier. Click on the image below to get today’s resource! 
Come back tomorrow for another holiday gift!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.
Every day until 25 December, I’m giving you a little gift – a postcard about one of my favourite FREE business tools. Each card tells you what the tool does and how you can access it.
There’s something here for everyone – editors, proofreaders, writers and other small business owners. The tools featured will help you with editing, marketing, fact checking and working with images – just lovely things to make life easier. Click on the image below to get today’s resource! 
Come back tomorrow for another holiday gift!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.
Every day until 25 December, I’m giving you a little gift – a postcard about one of my favourite FREE business tools. Each card tells you what the tool does and how you can access it.
There’s something here for everyone – editors, proofreaders, writers and other small business owners. The tools featured will help you with editing, marketing, fact checking and working with images – just lovely things to make life easier. Click on the image below to get today’s resource! 
Come back tomorrow for another holiday gift!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly. |
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I write quirky flash fiction too! Click on the book jacket above to read my free debut collection of 9 stories.
Dare Rogers'Louise uses her expertise to hone a story until it's razor sharp, while still allowing the author’s voice to remain dominant.'Jeff Carson'I wholeheartedly recommend her services ... Just don’t hire her when I need her.'J B Turner'Sincere thanks for a beautiful and elegant piece of work. First class.'Ayshe Gemedzhy'What makes her stand out and shine is her ability to immerse herself in your story.'Online courses to make you visible
  
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All text on this blog, The Parlour, and on the other pages of this website (unless indicated otherwise) is in copyright © 2011–18 Louise Harnby. Please do not copy or reproduce any of the content, in whole or part, in any form, unless you ask first.
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