Content hubs for proofreaders and editors
The ‘self-publishers’ page on my site is a content hub. I call it Louise's Writing Library. It’s where potential author clients can find lots of resources to make their lives easier.

Each resource has a picture. Clicking on that picture takes the visitor to a blog post, a Word file or a PDF booklet (though it could just as easily link to a video, podcast or Excel spreadsheet).

All of that stuff is on my blog too, so why did I create a dedicated page to curate it? Here are 8 reasons why:

1. Hubs help your visitors find your useful stuff
It's much easier for a visitor to navigate from one resource to another when you offer clearly titled images in one place than it is to find what you want in a search bar or blog archive.

And if they get distracted, it’s easy to start the content review process all over again back in the hub. That might not be so easy if they’re on a 7-year-old blog with several hundred articles on it, especially if the ones they want to read appear in different subject- or month-archives.

Your visitor can also bookmark a hub page on your site. They can’t do that with a list of results generated by your search bar. They can probably bookmark an archive, but that will only show the first article or two on your blog, not a chunk of your core resources at a glance.

2. Hubs keeps your visitors on your site for longer because there’s more to engage with
The more goodies you offer visitors, the greater their engagement. That’s good for obvious reasons – you’re helping your clients, showing them you’re engaged with their problems and are willing and able to solve them.

But there’s another important reason. The longer someone sticks around on your site, the more likely they are to hire your editorial services.

It’s no surprise, really – I don’t stick around in a high-street shop, desperately trying to find that one thing I want, if the overall feel of the place and the products it’s selling don’t feel like me. But if I keep finding things that grab my attention, I’m much more likely to walk out of the door with a bag full of something nice.

Editorial websites are no different. If your hub makes potential clients drool because you’re offering them a lot of free, helpful, valuable content, if it makes them feel that you get them, and that you’re a good fit for each other, you have a much higher chance of persuading that person to ask for a quote or a sample edit/proofread.

3. Hubs reinforce your brand
Content hubs are perfect for reinforcing your brand identity because you can create a uniform look and feel by theming your images with consistent colourways, fonts, and design.

Include a few lines of text at the top to explain who your resources are for, and what problems they’ll solve – your mission, so to speak.
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Here’s a partial sample of the images in my own content hub:

​And here's a partial shot of John Espirian's Learning Zone. John's hub has a very different feel to it, and so it should. His brand identity is built around a different set of skills, services and target clients.

8. Hubs encourage ‘you’re worth it’ moments
Certainly, a great content hub will increase the likelihood that your visitor will hit the contact button, but not everyone will be ready to make that commitment.

That’s why building a mailing list is a great way to keep in touch with potential clients who are thinking, ‘I’m interested in you and like what you’re doing, but I’m not quite at the point where I’m ready to hire you as my editor or proofreader.’

Still, it seems like everyone and their aunt has a mailing list or newsletter these days. And if you’re going to persuade someone to allow yet another email into their already crowded inbox, and make them want to actually open it, displaying a hub of gorgeous resources might just be the tipping point – the thing that makes them think you’re worth it.
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Make sure your hub includes a way of signing up to your mailing list, and a clear call to action that tells the visitor what you want them to do, and why. Here’s what mine looks like:​

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

If you're an author, you might like to join Louise’s Writing Library. Members receive monthly updates featuring self-publishing news and resources.

[Note from Louise: the typos in the title are a little joke by A&P! No emails, please!]

Please direct any hate mail about this article to: Andrew and Pete, Bluff House, Middle-of-Nowhere Lane, Fakeshire, FK3 QQX

When Louise asked us to write a guest blog for proofreaders, we thought to ourselves: ‘Proofreaders, they love words, right? Hmm ... we know ... why don’t we write a blog about why they should all stop writing stuff and start creating videos instead?’

WHAT. A. GREAT. IDEA.

Deep breath ...

... here we go. 

Should you all start video marketing?
Excusing the dramatics at the start of this article, let’s talk seriously for a moment about why video marketing can’t be ignored when it comes to marketing your proofreading business.

We aren’t saying stop writing, period. We do think blogging should be a key part of your marketing mix, but our aim in this article is to make the case for bringing some elements of video into your content marketing strategy.

Remember, you may like to write, but that doesn’t necessarily mean that’s how all your customers want to consume their content.

Reason number 1: Consumers are switching to video content
With faster internet connection both at home and on mobile, video content has been opened up to the masses, and more and more people are turning to video content over written blogs.

This may be the case for you, too! Think about how many videos you’ve watched online in the past 7 days compared to the amount of blogs you’ve read.

Chances are the former is higher; and if it’s not, you’re in the minority here.

Why is this happening? Well, other than the tech allowing it in the modern world, people are becoming highly trained multi-taskers. We’re used to triple or quadruple screening with our devices – watching TV while checking our phones, scrolling through Facebook on our tablets, and maybe even taking a fourth glance at the smart watches on our wrists.

A lot of the content we’re consuming is video because, actually, it’s less effort. Reading generally requires our full focus on 1 screen.

In fact – especially on social – video is being watched with the sound off more often than with it on! Crazy, right? (Rev.com is your best friend for subtitling, btw.)

So, if we want to get people’s attention, if we want to educate them, entertain them, or even SELL to them, video is the best way to get that all-important attention. At least today, anyway.

​Reason number 2: Video builds trust, something that’s lacking
Once we have the attention, the next thing we need is trust.

In 2015, we attended talk by our marketing hero Seth Godin, who painted the picture of the modern business landscape.
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He argued that the businesses that are going to win are the ones with attention and trust. 

Trust is lacking nowadays. It’s never been easier to start a business – the internet has allowed for that.

We’re sure you’re running a legitimate business, but there’s no denying the number of charlatans out there as well as the people who – let’s be honest – have no clue what they’re doing.

But all you need is a website and BOOM! you’re in business.

Because of this, trust is falling … fast. People don’t really know if you’re an experienced proofreader, if this is your first time at the rodeo, if you’re doing this to put yourself through an English degree, or even whether English is your first language. We have to earn that trust before somebody parts with their cash.

Yes – nice websites can do this, as can client testimonials, a nice logo and an about page that says you’ve been doing this since Andrew and Pete were in diapers.

But if you want to go from being a stranger, or a faceless logo, to earning trust to the extent that somebody will actually hire you, video wins the day.

Why? Because people still trust a friendly face.

Add a face to your brand and you’re getting somewhere. Add a talking face and you’ve hit the money.

Let’s be honest – we need to know, like and trust our proofreader. If we don’t, we might as well check our own stuff.
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But if you can show your expertise and let people get to know you through video, you speed up that know–like–trust factor tenfold.

​Reason number 3: It can be a more effective way to communicate
Marketing is basically communication.

Whether we’re looking at blogs, home pages, print, sales copy – whatever – we want to communicate a message in the most efficient way possible, and in a way that people remember.

Video allows for that.

Studies have shown that on average people remember 20% of what they see; or 30% of what they hear, BUT A WHOPPING 70% of what they see and hear!

​It seems a lot but it makes sense when you think about. 

​Reason number 4: Social media marketing and video are a match made in heaven
Being a proofreader, you can work from wherever you like, at whatever time you like – whether that’s the cupboard under your stairs or a beach in the Seychelles.

Because of that, you can’t ignore using social media to find clients and network with people all over the world.

The majority of the social networks are pushing users towards video, and because of this they’re giving preference to it in feeds. You’ll see a significant increase in reach online when using video content natively on a platform, compared to links or plain-text updates.

Side note: ‘natively’ means uploading the video direct to that platform, rather than linking to, say, a YouTube video or similar.

The only exception is the classically late-to-the-party LinkedIn, where video can’t be uploaded natively, yet (for the general user at least). We’d place bets on them catching up soon.
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Video comes in different formats depending on the platform. Whichever platform you’re focusing on, try adding video into the mix. 

Reason number 5: Stand out from the crowd and show your brand personality

Everybody wants their businesses to stand out from the competition, but only a few are willing to take the action to do something different. Video probably isn’t the norm for proofreaders, so it’s therefore a great way to stand out from the crowd and show your brand personality.

We’ve talked about trust and attention already, and this increases tenfold if you show some personality in your business.

We aren’t saying you have to be funny, or crazy, or unprofessional, but rather know what your brand personality is.

By the way, if you aren’t sure what we mean by brand personality, check out Creating a Brand Identity, a video we created ;) 

Once you know your brand personality, you have to show it! Yes, you can do this with the written word (we’d like to think this article gets across some of our personality), but oftentimes this can be much easier with video.
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So don’t go with the flow. Be different and you’ll get attention. 

Using video in your marketing
Okay, hopefully we’ve set the scene for incorporating some video into your marketing. The next thing is getting going with it.

The first thing people tend to jump to is the sales video – the videos for your home page, services page, about page, etc.

This is cool – you can create these to help people through the buying process – but we also want you to use video for content marketing.

Just like you might write blogs to educate, inspire or entertain, make videos for the same purpose. And, importantly, be consistent so that you build your brand awareness over time and max out the 5 reasons we covered earlier in this article.

Remember, just because you’re creating video it doesn’t mean that you can’t write as well. Feel free to embed your videos on your blog and write, too, like we do on the Andew and Pete blog.

Here are 3 main styles of video you could implement:

1. The edited video. This is the classic. You shoot some footage, and then use a video editor to put it all together (btw, if you’ve bought a Smartphone in the past two years, the camera on it will be perfectly okay to use). Check out the HitFilm video tutorial; it's the free editing software we recommend.
2. Live video. This has become hot over the past few years. You can go live on Facebook, Twitter (Periscope), Instagram and YouTube and create video on the fly super quickly.
3. Stories. Another fairly new video format is the story. Popularised by Snapchat, but unashamedly ripped off by Facebook and Instagram, stories can be created on the fly, too, then downloaded and repurposed. Again – these are super easy to do.

You don’t have to do all three! Find out what works best for you, and stick with it!

Final thoughts
Thank for reading this article. We hope it’s got you thinking twice about using video. Our own marketing efforts improved significantly when we switched to video. Our only regret was not doing it sooner!

Let us know how you get on, and if you need any help don’t hesitate to ask.

​Extra resources (if you want to get started with video)

• 3 Ways to Create a Video Studio on Any Budget
• Best Free Video Editing Software 2017
• HitFilm Express Tutorial 2017
• How to Add Subtitles to Your Facebook Video and YouTube Videos | The Quick and Easy Way
• Facebook Live: How To Get Started and Not Be Scared With Ian Anderson Gray
• Creating a Brand Identity | The First Thing You Must Do

Written by Andrew and Pete

Andrew and Pete run an award-winning content marketing company called Andrew and Pete, where they help small businesses create share-worthy content that builds brands people love.

They have been featured on Social Media Examiner, Huffington Post and Entrepreneur on Fire, and are the authors of the hit book The Hippo Campus and Content Mavericks, launching Autumn 2017. You can find out more about them at www.andrewandpete.com.

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

If you're an author, you might like to join Louise’s Writing Library. Members receive monthly updates featuring self-publishing news and resources.

‘I don’t know anything about audio books. How can I tell if a producer will do a good job on my book?’
That’s a tough question with few solid answers, but I can offer some tips.

1. Take some time to listen to some good, well-produced audio books.
You are usually safe with most stuff from the larger publishing houses and big-name authors. Try to listen to not just the narration but also to how the narration SOUNDS. Then compare that to the auditions you’ve received.

2. How loud is the recording in the pauses between sentences?
There shouldn’t be a lot of background noise, but neither should it sound like the recording drops off a cliff in between sentences.

3. Are there ANY extraneous sounds in the background, like a barking dog or a car driving by?
Those sorts of sounds should NEVER be in the recording and I would consider them an instant red flag.

4. Can you hear a lot of ‘mouth noise’?
Strange clicks, smacking lips, that sort of thing. This is a challenge for almost all narrators, and if you catch a little, it’s not a cause for major concern. But if you find yourself distracted by the sounds, be careful.

See, the thing is that a Producer on ACX really does have to be more than just a narrator. They have to be a narrator, a director, an editor, and an engineer.

There are a lot of skills involved and not everyone is equally good at all the facets of each job. This is why you need to listen to more than just the performance when evaluating auditions.

Note that no one is perfect and you can get a good audio book from someone who has at least a base level of competency in some the various skills while excelling in a few others.

Again, it’s up to you to determine if a producer is capable enough to do a good job with your book.

Also, when evaluating any producer, be sure you look them up to see what other books they’ve done. Do they have a bunch of books already out there?

• Listening to the samples of those books, how do they sound?
• What sorts of books are they?
• Are they about the length that your book is likely to be or longer, showing that they will be likely to complete your project?
• Have they done books in a similar genre to your book?

Note that some producers publish under a pseudonym, so if you can’t find anything on your own, ask. If they’re really brand new and have absolutely no history to go by, don’t be afraid to ask about what sort of training they have that can give you confidence that they’ll do the job.

In short, do your homework on your potential producer, or you’ll only have yourself to blame if things don’t work out!

Audio-book production: A primer for indie authors from an audio-book producer
This 26-page primer includes over 5,000 words of guidance from Ray, a professional voice artist, on the following:

• Audiobook Creation Exchange (ACX)
• Terminology and definitions
• Pricing options: Pay for Production, Royalty Share, and Hybrid
• Production time
• Choosing a voice artist
• Red flags
• Sampling the first 15 minutes
• Doing it yourself
• Equipment and environment
• Pre-production manuscript editing
• Distribution rights
• Briefing a narrator

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Online writing courses
Just a quickie ... a member of Louise's Writing Library asked me if I'd put together a list of online writing courses. It's a work in progress and I'll be adding new resources as I become aware of them.

If you think I've missed something, drop me a line at louise@louiseharnbyproofreader.com.

You can access the current list via the Self-publishers page on my site, where all the library resources live.

Just look for Online Tutoring for Self-Publishers: Writing Courses and click on the image to download the free PDF.

Until next time ...

For instant access to more self-publishing and indie-author resources, visit my Self-publishers page. ​Or join the library to get monthly updates.

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Abigail is based in the UK and has been proofreading and editing for around five years. Most of her work thus far has come via existing contacts, personal referrals, and a third-party site.

Until recently, that was sufficient. Consequently, she hasn’t spent any time thinking about a website, marketing, or other forms of outreach. Furthermore, the third-party site has changed the service-fee structure so that the work is no longer as lucrative.

She asks:
‘At the moment, I do a lot of academic work, which I love and would like to continue; I just want to secure it privately rather than through third-party sites. In addition, I would like to move away from website copy, blog posts and more generalised proofreading, and start working with publishers on longer and more interesting projects. However, I don’t know where to start, what’s required, or how to approach them. Many thanks for any guidance you can provide!’

Thanks for your question, Abigail!

So, something else you mentioned in your email to me is that you’re undergoing professional training. I was really pleased to hear this because I think it’s an essential element in the mainstream publishing market.

So, I’m going to focus on the following:

• Why targeting publishers is such a good step
• A quick note on earnings and work stream
• Training for academic publishers – what you need to know
• Where academic publishers search
• Why going direct is still your best bet
• Don’t put all your eggs in one basket
• Taking academic publishers’ tests
• Asking for testimonials and building a portfolio

Why targeting publishers is such a good step
Publishers are still the preferred client group for many editorial freelancers. There are several reasons for this:

• Publishers do all the project-acquisition work for us, which means we can sit back and allow the work to come to us (if we have enough publishers in our pockets).
• They understand what we do – we don’t have to nail our brand identity in a way that’s becoming increasingly critical if we want to be visible in the search engines! No proofreading or copyediting course will teach you how to build a compelling brand, and doing that is an art in itself! Getting a publisher’s attention requires a strategy that’s skills- and experience-focused.
• The definitions of proofreading, copyediting and developmental editing are homogeneous. You won’t be asked to proofread an academic textbook but expected to sort out the structure. The terminology in the rest of the world is rather more tangled (see the Untangling Proofreading booklet below).

​A quick note on earnings and work stream
There’s a lot of talk in the online international editorial community about publishers and low fees. The situation is not straightforward.

There is no universal fee for copyediting or proofreading. I rarely work for publishers these days, but when I did I was offered proofreading fees from academic presses that worked out as low as £10 per hour and as high as £40 per hour.

It depends on the complexity of the project, the press, the brief, the length, the number of authors, and a ton of other things. After you’ve done a few projects for a publisher, you’ll start to get a sense of how things work and what you can expect to earn on average.

Some publishers will offer you a fee of £X per hour, and a guideline for the number of hours they expect the project to be completed in. Some will offer a flat fee for the job. Some of my colleagues (like Liz Jones: see her excellent post in Further reading, below) have successfully negotiated fees when they encountered scope creep.

With some presses, I found that I could counter what seemed initially to be a less favourable fee by being as efficient as possible.

You’ll also speed up as you become more familiar with a press – their house style, the format of their books, and their preferred professional style manuals and reference systems.

Regardless of their fee structure, they do all the project-acquisition work for you, which means you can sit back and focus on the proofreading and editing rather than worrying that your Google Search rankings aren’t as high as you’d like!

Here are three supplementary booklets: Proofreading for Publishers: Do They Always Pay ‘Low’ Fees?, Editorial Efficiency: Rates, Data Tracking and Digital Tools, and Untangling Proofreading.

​Training for academic publishers – what you need to know
In order to ensure you’re fit for purpose with publishers, ask them which style guides and reference systems they prefer, and take time to familiarize yourself with these manuals. Most presses will provide you with a summary of their preferences.

Your training course should draw attention to the importance of following a brief. Publishers are usually rigid when it comes to scope, and going beyond the brief without querying first could have detrimental consequences.

For example, if you’re training to proofread, you’ll need to practise when to change, when to query and when to leave well enough alone – no in-house editor will thank you for recasting sentences to improve the flow in a proofread.

That’s because: it’s expensive to make extensive changes on page proofs; the pagination could be affected; cross-references might be impacted; and the index could be damaged if it’s being created simultaneously.

Also check that the training course you’re doing is recognized by the UK publishing industry. You won’t go wrong with the following organizations, though they’re by no means the only ones to consider:

• The Publishing Training Centre
• Society for Editors and Proofreaders

Certainly, if you want to proofread for publishers, you’ll need to be familiar with the industry-recognized proof-correction markup language (BS 5261C: 2005). Even if a publisher asks you to proofread on PDF, you might be required (or find it efficient) to use digital versions of these marks.

Where academic publishers search
Some publishers do search for editors and proofreaders. The SfEP’s Directory of Editorial Services is one port of call. Some also attend the SfEP’s annual conference and the London Book Fair, so those two events are worthy networking opportunities to put yourself on the radar of academic presses.

Recently, I was contacted by a publisher via Reedsy. It’s the first time I’ve received a request to quote from a press via this platform, and it was for a fiction title, so I’m not convinced that this would necessarily be a primary channel for you if you want to acquire academic work, but I’m mentioning it just as food for thought.

Why going direct is still your best bet
My top tip for getting in front of publishers is to contact them direct, by email, phone or letter. The reason why many don’t search online for editorial freelancers is simply because they don’t need to.

Build a list of UK academic publishers, then find out the name of the person in charge of hiring – it’s probably someone in the production department – and get in touch with them.

You already have lots of experience, and you’ll have a top-notch training course under your belt. I recommend customizing your CV and cover letter/email for each press so that your portfolio of projects sells you as a perfect fit.

Read Philip Stirups’ article for more top tips (see Further reading).

Don’t put all your eggs in one basket
I recommend you build a bank of around ten publishers. If you stick to one or two you could end up in deep water further down the road. If one of those clients were to merge with another, you might fall off the freelance list during the transition. If your other client were to go bust, you’d be scuppered.

Having a larger bank of publishers means you have a safety net.

It’s likely your publisher client base will grow exponentially; each time you acquire a new client you’ll be more likely to impress another. It’s a small world, and many of the in-house staff know each other. That will work in your favour.

Taking academic publishers’ tests
Some publishers will ask you to take a test. There are two articles in the Further reading section that offer excellent overviews of how to approach these: ‘The Business of Editing: Editing Tests’ by Rich Adin, and ‘Test Taking Tips For Editors’ by Cassie Armstrong.
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Asking for testimonials and building a portfolio
Are you able to ask current academic clients for testimonials? If so, do so – however embarrassing you find it! This kind of social proof won’t on its own get you work, but it’s one way of demonstrating that you’re capable of fulfilling a client’s brief.

I mentioned your portfolio above. If you’ve been in business for five years, chances are you have an amazing project portfolio. Make sure your CV, LinkedIn profile and website reflect your body of completed works. Publishers love to see experience!

I hope that brings you a little clarity, Abigail. Good luck with building your new client base!

Further reading

• ‘Does Training Matter? What Publishers Say about Proofreading & Editing Courses’ (Louise Harnby; The Proofreader’s Parlour)
• ‘Not all proofreading is the same, Part 1’ (Louise Harnby; The Proofreader’s Parlour)
• ‘Not all proofreading is the same, Part 2’ (Louise Harnby; The Proofreader’s Parlour)
• ‘Test Taking Tips For Editors’ (Cassie Armstrong; Morning Star Editing)
• ‘The Business of Editing: Editing Tests’ (Rich Adin; An American Editor)
• ‘The economics of working with publishers’ (Liz Jones; Eat, Sleep, Edit, Repeat)
• ‘The Proofreader’s Corner: Page Proofs and the Domino Effect’ (Louise Harnby; An American Editor)
• ‘Undercover editor: Selecting new editorial freelancers’ (Philip Stirups; The Proofreader’s Parlour)

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

I'm so, so grateful to Ray Greenley for taking the time to write a comprehensive primer on audio-book creation for me! It's absolutely brilliant.

Ray's a professional voice artist (he's the narrator behind, among other audio books, Philip K Dick's The Unreconstructed M and Other Stories) but he's a fab writer as well.

I love listening to audio books, but creating them? That’s quite another matter. And yet I wanted to know more, and I figured some of you would too.

And because it’s one of those aspects of self-publishing that’s just too expensive to get wrong, I felt that my writing a guide to the process simply wouldn’t do.

I wanted to offer you something that would give you in-depth, honest and usable insights. That way, if you do decide to create an audio book, you can do it right.

​I hoped a professional narrator could furnish you with those insights, and Ray hasn’t disappointed.

​The following article is an excerpt from the full 26-page primer. At the bottom of the post there's information on how to access Audio-book production: A primer for indie authors from an audio-book producer.
​
Enjoy! (And thank you, Ray!)

An introduction from the voice artist, Ray Greenley
Hello, dear author! Congratulations on your latest book!

Have you considered having an audio book of your work produced? If not, you should! More and more consumers are buying audio books for a variety of reasons, and audio-book sales are booming compared to digital print sales (see Resources: Kozlowski).

As an author, you absolutely want to be a part of that growing market. But audio books are an entirely different beast from print books. Getting into a new market is always intimidating. Where do you even start?

I’m here to help. I’m an audio-book narrator who has worked with indie authors to produce audio-book editions of their work.

In Audio-book production I give you a high-level look at what you need to know to get your book produced as an audio book. In this post, we're focusing on platforms and prices.

There’s work to be done, but it’s probably not as difficult as you might think. Read on!

‘So how can I get my book produced as an audio book?’
It wasn’t all that long ago that virtually all audio-book production was handled by a few big publishers, and getting your book produced was probably a similar feat to getting a big print publisher to publish and distribute your book.

That’s all changed. Getting your book produced as an audio book is easier now than it’s ever been.

Probably the biggest factor in that change is a site called ACX. That stands for Audiobook Creation Exchange. It’s run by Audible.com (the world’s largest distributor of audio books, and owned by Amazon.com).

It’s essentially a meeting place where rights holders (that’s you!) can list their books in order to find producers (like me!) who are interested in producing the book as an audio book.

Producers (that’s the term used by ACX; consider it synonymous with narrator for the sake of this discussion) can see the listed book and submit an audio audition for it. 
The rights holder listens to the auditions and can offer a contract to the producer they think will do the best job. 

Once the producer accepts the contract, they produce the book and submit it through ACX. The rights holder can then listen to the book, and if they approve it, it gets prepared for release. ACX manages the contract, the payment of royalties, and distribution to the associated platforms (Audible.com, Amazon.com, and iTunes.com).

‘That doesn’t sound so bad, but cut to the chase: How much will all this cost me?’
Cost is, of course, always a factor. With ACX, there are multiple options that allow virtually anyone to have their book made into an audio book. But as with many things in life, you often get what you pay for.

First a quick note that there is no fee from ACX for registering on their site or for listing your book. They get their money on the back end once the book goes up for sale, so they just want to encourage as many books to be produced as possible.

ACX allows rights holders to offer producers two types of contracts: Pay for Production and Royalty Share. Note that regardless of the type of contract, the rights holder always gets full ownership of the audio produced.

A Pay for Production contract means that you’re paying the producer a flat fee for their work. Once you’ve paid the fee, the audio book is published and you’ll receive royalties from sales of the audio book.

So what’s a typical fee? Well, first off, the fee is based on the length of the completed audio book. When you offer a contract, you agree to pay a certain amount Per Finished Hour (PFH) of the audio book. So if the audio book ends up being 10 hours long, you’ll pay the agreed-upon amount times 10.
​
What sort of PFH rate can you expect to pay? Well, it depends on the type of talent you’re looking to attract. If you want a top-rate, full-time professional narrator, you can expect to pay around $300 PFH, or even more.

​‘Wait, what!? That means for my 10-hour book …’
… you’d pay around $3,000, yes. Sounds like a lot, right? Well, it is a lot, and I touch on why that number is what it is in the full ebook.

But for now, let’s get back to the discussion on cost. Because you don’t have to offer that much for a Pay for Production contract. You can offer less, and are likely to get producers willing to record your book for less.

Just keep in mind that as you go lower in what you’re offering, so the caliber of producers you attract to your project will change. I’d say that once you get below $200 PFH you’re pushing out of the zone where most quality producers feel like they can get a reasonable return on their time, but that may not always be the case.

A quick note: There absolutely can be an aspect of negotiation with regards to the contracts you offer. ACX doesn’t care what the final number is. That’s entirely something to be worked out between you and the producer.

‘I really don’t want to put up that kind of money. Is there another option?’
Yes, there is! 

It’s the Royalty Share contract that I mentioned above. 

In this contract, you don’t pay the producer anything up front, but instead split the royalties on sales of the book with that person.

‘Hang on – I can get my book produced as an audio book without having to actually pay anything?’
Yes, that’s pretty much it! Sounds great, right?

‘It sounds too good to be true. What’s the catch?’
The catch is that the top producers are VERY selective about the Royalty Share contracts they’re willing to accept.

It takes lot of time and effort to produce an audio book, and producers who are trying to pay their bills and feed their families with money from their work won’t take a second look at your book unless it has a record of strong sales.

Even if your book isn’t breaking any sales records, you can still list it and are likely to get some auditions. Just be realistic about the kind of producers who are going to be sending those auditions. They may be low on experience, talent, or both.

That’s not to say it’s a hopeless case. We all have to start somewhere.

Once upon a time, I was that producer who was low on experience and sending out my first auditions. The author who picked me to narrate my first audio book was an indie author who had just written his first book.

While I’ve learned quite a bit since that first book, and there are definitely things I would do differently now, I’m still proud of my work on it and the critical reception has been overall quite positive.

But it’ll be entirely up to you to make that determination. Just as ACX allows rights holders to sign up and post their book for free, they also allow anyone to sign up as a producer and send in an audition for free. And I do mean ANYONE. Do NOT assume that just because someone is a Producer on ACX that they actually know what they’re doing.

In the full edition of the ebook, I offer guidance on how to assess whether the narrator/producer is doing a good job.

​For now, thanks for reading!

Resources

• ACX Rights Holder’s Checklist
• Royalty Share Contracts and Marketing
• So You Want to be an Audio Book Narrator
• 5 Tips for Successful Audio Books
• Michael Kozlowski, Editor in Chief, Good e-Reader

Contact Ray Greenley
Website | Facebook | Twitter

​
​Audio-book production: A primer for indie authors from an audio-book producer
This 26-page primer includes over 5,000 words of guidance from Ray, a professional voice artist, on the following:

• Audiobook Creation Exchange (ACX)
• Terminology and definitions
• Pricing options: Pay for Production, Royalty Share, and Hybrid
• Production time
• Choosing a voice artist
• Red flags
• Sampling the first 15 minutes
• Doing it yourself
• Equipment and environment
• Pre-production manuscript editing
• Distribution rights
• Briefing a narrator

It's available free to members of Louise's Writing Library. To get your copy, simply join the library.

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
​
For more self-publishing resources, visit my Self-publishers page. Or join the library to get monthly updates.

Managing the process of book cover design
So you’ve written, edited and prepared your book’s interior for your preferred distribution channels.
 
Now you need the cover. And, as I know all too well, being able to write in no way qualifies one for being able to design.  
 
When we’re self-publishing, there are some parts of the process that are, for most of us, best bought in. When it comes to book jackets and digital covers, that means talking to a designer.
 
Whether you decide to do it yourself or hire a designer will depend on your budget. Either way there are some design basics that are well worth bearing in mind to help you make your book wow itself.
 
Great words compel your readers to finish your book ... A great cover compels them to start it.
​
Chris Hamilton-Emery, design director of The Cover Factory and co-founder of the gorgeous independent publisher Salt (based here in mostly sunny Norfolk!) has been kind enough to share his expertise (and his fantastic sense of humour!).
 
The advice below will help both the self-publisher and those looking for publishing contracts. Chris's core mantra? Avoid being dull.

​Design by committee
For authors with a publishing contract, it’s not uncommon for a team to be involved in briefing a designer – they may not be acting as a team, but there’s often one involved.
 
... A sales manager who has her eye on that cover that’s on display in Book Bonanza’s shop window.
 
... The marketing manager who keeps up with the new trends and the language around covers: ‘It needs some spacy calmness for the furniture to show up the title text.’
 
... Perhaps the bookseller: ‘Put a snake on it in a herby sort of border.’
 
... The managing director: “We don’t do serifs or colour at Gubbins & Potsdamer.”
 
... And then there’s the production manager, the print buyer, the design manager. Everyone has something to add to the sauce, not least an expectation of stellar sales.
 
Then someone rings the author. “He says blue reminds him of his dead mother, and the goat is the wrong breed.”
 
Which all goes to say that cover design has its contexts.
 
The person that truly matters is, of course, the reader – yet a cover has many important audiences before we reach that goal. That’s because it’s the chief means by which people make their investments in the book in the supply chain long before the bound paper book block (or its digital sister) touches the shelves.
 
A cover signals commitment from the publisher (even if that publisher is you, the author); it signals desire among booksellers; it signals prospects among the supply chain, and its critics and reviewers. Many will be spending their money before anyone has read a word.
 
For those with publishing contracts, it’s entirely possible that the author will have no contractual say in the matter, though few publishers would be brave enough to go to press with a cover that an author despised.

To boldly go?
Many covers are compromises and copies, and covers, like many parts of our modern lives, are influenced by fashion.

A cover that breaks ranks and stands out has as much chance of failure as success and so many covers play it safe. Being bold can also mean being ignored. As one friend put it, ‘The cutting edge is also the bleeding edge.’

Some markets have their own design universes, like crime, or romance – and it will take a brave soul to depart from the conventions of the genre.

Yet we all aspire to good cover design, and we all recognize that in the fiercely competitive environment of today’s global book trade, a cover can really help make a book work, by which we mean, distinguish itself.

Whomever compiles the brief has no easy task; they will be serving the multiple masters listed above and trying to find a way forward to inspire a designer to deliver a pot of gold in the shape of a small rectangle.

The brief
Do provide a synopsis, but not necessarily the entire book 
List three powerful visual moments. List one or two key visual themes. If the book had a palette, of which colours would it be comprised? How would you like readers to react to it?

Do not ask for your entire book to be illustrated on the cover
‘There must be a gold sky with twenty-six ravens, and a golf house, a small bus, traffic cones and a trifle, but no jelly. And on the trestle tables, bunting. And a seal. There are two main characters, one tall, the other taller, each has a mole. They are wearing jacquard ties. They must be shown in front of the thirty-seven villagers, all attempting to get into a train. The train is going to Doncaster.’ Hmm.

Detail is the great enemy of good design. 

Yet so, too, is needless abstraction. ‘Can it be wavy green with splashy washy bits? Except blue.’ 

Inspiring a great design can frequently be found in seeking out the monolithic and iconic message a successful cover often presents, ‘If she had eyes, they would be stones.’ Leave plenty of room for the designer to imagine, to take risks, and above all to surprise you with their own art. 

Never ask a designer to work up your own ideas. If you have ideas, especially strong ones, express them as visual journeys. Don’t offer destinations.

Ask questions
Perhaps the best way to ask questions is to show things that you believe work for you – other covers that appeal, especially ones relevant to the text. 

Create a visual space for the designer to work in, and add your brief to provide context and challenges. 

Good questions expose the problem, good questions get to the central, even the reductive, theme of the book. ‘If there was ever a home like this, it would be a songless house on a wet hill with a red rat at its heart.’ 

So, again, ask for three visuals, perhaps some early sketches, to see where things are leading. Or be bold and say, I am prepared to be surprised. 

Consider the compulsion factor
It’s also important to know the mechanics of a cover – once it’s passed through its committees and is en route to the bookstore, its role really comes into its own. 

Among the tens of thousands of books being put in front of readers, in stores or online, the cover’s job is simply to attract the browser, that momentous millisecond of compulsion that makes someone pick the book up, read the blurb and break open the spine. Or scroll down a page and click Look Inside.

Think of it. You spot something, your eye stops its movement, you lean forward and pick up the book, you turn it over and read an endorsement, your eye flickers, you read down. Ah, it’s about the last water mill in a land of drought ... You open the book and a journey begins (one that starts at the till).

Think back. The cover merely had to stop you moving on and its work was almost done – such a simple and perplexing thing. Would something more complicated have worked better? Something less fussy? Something less drab?

The essentials ...
Not everyone can afford a £3,000 cover budget; nor are they willing to have a six-month internal circulation list for everyone to argue over within a publishing house.

You may be going it alone; you may be self-publishing.

The problems are still the same – your cover must be distinctive, distinguishable, memorable, singular and arresting. 

• Stock art can provide a basis, but rarely a solution, to your needs. 
• Typography should be clear and maintain some personality. 
• Avoid a title top, a box for an illustration and your name at the bottom.
• Avoid the reverse, too. 
• Above all, go into a bookstore and look at covers. Lots of them. What’s going on in the world of covers? What are the expectations? Know your market and address it. Understand who the readers are. 

Free fonts can help in devising sketches. Test your ideas out with professionals. Don’t test them out with friends. 

Look at your cover in the context of your competitors.

And give it time. If you’ve spent years writing your book, at least give a few months to considering the cover. 

Be aware of your own prejudices. Be aware of your own tastes. 

Pay attention to space and position, to colour and clarity. 

And if your book is to be printed, above all, remember the spine, for this is what most readers will see. 

Don’t mistake a poverty of design as the representation of authenticity. Don’t over elaborate, either. Look at your cover from twelve feet away; can you recognize it, read it?

Working with the designer ...
Let’s roll back through these notes towards a design. If we’re using a designer, we want to enthuse and inspire, we want to ignite not instruct. We want to understand the context in relation to other covers.

We want to be aware of those who will put our book in front of readers. 

We want the readers to pick it up or click on it.

Whether we use a designer or produce something ourselves, we are all chasing something singular, clear and memorable. We are avoiding complexity. We are signifying the book more than illustrating its contents. 

Above all we are branding it. 

Remember that brands symbolise and represent complicated relationships and stories by simple means.

Simple doesn’t mean dull. In fact, perhaps the best mantra is, don't be dull. The world needs its little moments of glamour.

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Gagen recommends discussing the issue before the project starts. It may be that a writer will prefer you to just go ahead and make a substantive edit to the text. Others may want a nudge. Others will prefer a more detailed explanation in the comments.

And given that we’re trying to help our authors avoid reader disengagement, it would be a shame if, through hitting the wrong tone, we ended up disengaging our clients.

Adrienne Montgomerie offers further food for thought: ‘When you’re worn out, incredulous, and exasperated, it can show in your queries.’

Eek! To think that, despite our best efforts at advocacy, we might have made our author feel we’re no longer on their side, is unthinkable, and yet it can happen. She offers a handy list of different phrases you might consider when querying to keep your author engaged and your tone on track (‘10 Ways to Word a Sensitive Query’).

I hope you’ve found these tips useful. Here’s your PDF mini-booklet if you fancy downloading the post to your device. Just click on the image to get your copy.

​Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

If you’re new to writing and self-publishing, I have a tip for you – one that will save you a major headache as you work through the initial writing and later redrafting stages of your novel ...

Create your own style sheet! 

Honestly, you won't regret it. Building a style sheet is like holding hands ... but with yourself.

It'll help you keep track of what’s going on in your novel – who’s who, what’s where, and when X, Y and Z happens.

At the same time, you'll be able to record your preferences for the micro elements of your book ... things like spelling, punctuation, the rules about the way your fictional world works, and how you treat the various elements of the text (from paragraphs and headings to narrative, speech and thoughts).

Want a template to help you get going? No problem – there’s one at the end of this article. It’s in Word so you can add, delete or tweak to your heart’s content. Ready-to-go downloadable handholding!

To help you out, I've added some of my own recommendations (based on industry-recognized conventions) and offered choice where appropriate.

What’s included in a style sheet?
You can include anything you want but a solid, usable style sheet that'll really help you keep an eye on what's going on will include at least the following:

• character names, histories and traits
• how you’re going to handle point of view
• hyphenation and capitalization
• key geographical locations
• building names and layouts
• language choice
• punctuation style
• spelling preference
• tense choice
• timeline information
• treatment of dialogue and thoughts
• world-building rules

Some writers like to have everything in one place; others prefer to have several documents, each of which records different types of decisions, and toggle from one to another. It’s your choice – whatever helps you work most productively. So, for example, you might create different sheets for the following:

• the main character names and features, and the organizational, family or time-frame groupings they belong to
• a record of key events in the timeline (particularly useful if your novel covers multiple discrete time frames)
• geography: environments and buildings (especially important measurements, such as distances, heights, number of storeys, that if nonsensical could impair clarity)
• spelling and formatting preferences

Additional uses
A style sheet really comes into its own if you're writing a series. Not only will you have a reminder of the places, people and events in the previous book(s), you'll also be able to prevent accidental inconsistency or repetition.

I've proofread series for both indie writers and mainstream publishers. The authors hadn't kept a written record of what had gone before, and different copyeditors had been used for each book.

• In one case, this led to a character's surname changing slightly (but noticeably) in Book 2
• In another , the author had used the same surname for two separate key characters in different books in the series

Copyeditors and proofreaders can spot these problems when they occur within a single book, but if they weren't hired for the previous novel(s), they'll be ignorant of inconsistency or repetition across the series. Your style sheet will enable them to flag up potential errors.

In other words, a style sheet won’t just help you. It’ll help those who assist you, too. And the more we know about what you want, the better the service we can provide for you.

Rules versus preferences
Your decision is final at the end of the day. And while I and my colleagues can give you advice based on industry-recognized style manuals such as The Chicago Manual of Style or Oxford’s New Hart’s Rules, those resources are not the law (though they are excellent!).

Rather, they’re reference points that help writers and editors bring clarity, consistency and readability to text; they’re usually based on preference and convention, not rules (despite the title of the Oxford guide mentioned above!).

If you're not sure which particular element of style will suit your book best, talk to an editor.

• Developmental editors will be able to advise you on what works well in terms of big-picture decisions.
• Copyeditors and proofreaders will be able to guide you on the micro elements of style.

The thing to keep in mind is this: inconsistent styling will distract the reader and move them away from what they should be engaged with – your story.

​If you have any questions about issues of style, drop me a line in the comments. Even if I don’t know the answer off the top of my head, I’ll know where to find it and advise you accordingly.

Here’s your style-sheet template as promised. Simply click on the image below to download it. I hope you find it useful. Until next time ...

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Can you proofread your own book?

Truly, nothing beats a second pair of eyes on a piece of text, short or long. I know this all too well because I’m a professional proofreader and copyeditor, but I also write – books (yup, I've self-published four times), guides, booklets and blog posts.

​And I miss stuff – not because I have a problem with grammar, punctuation or spelling, but because I’m too close to the text. I see my own writing in terms of the ideas I want to convey rather than the text in front of my eyes.

That’s why I hire fellow proofreaders and editors to help make my written materials the best they can be. I don't expect those people to guarantee perfection but I do expect to them to ramp up the quality (and they've never failed me).

Here’s another thing I know – the better shape the file's in, the better the price. Editors and proofreaders are professionals and, though we love what we do, we have bills and mortgages too. So, very broadly speaking, the more intervention needed, the higher the fee.

There are things every writer can do to tidy up a piece of text by themselves, though. I’ve compiled them in one handy resource: The Author’s Proofreading Companion.

The steps in this toolkit won’t replace a rigorous professional developmental edit, line edit/copyedit and final prepublication proofread, but they will help rid your file of some of the nasties!

Here’s what the Companion shows you how to do:

• Remove double spaces
• Remove all rogue spaces at the beginning and end of paragraphs
• Remove double line returns
• Change hyphens used as parentheses to dashes
• Change tabbed paragraph indents to proper line indents (using Word’s ‘Styles’)
• Change a hyphen in a number span
• Find lower-case letters at the beginning of paragraphs
• Find a paragraph that ends with no punctuation
• Find a full point followed by a lower-case letter
• ​Change date styles with wildcard searches
• Run a confusables macro
• Remove unnecessary spaces before or after punctuation

Just click on the image below to get your FREE copy!

Hope it helps! And come back soon for more handy tips and advice designed especially for beginner writers.

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Changing famine into feast ... quickly
I discussed some of the problems of relying on one editorial client back in 2013. The issues I raised then are as valid today as they were four years ago, perhaps even more so given the current economic and political climate (both here in the UK, and elsewhere).

This article revisits the problem and includes an emergency business-promotion plan.

The booklet, SOS editorial marketing strategy: Quick fixes for big emergencies, is free to download. I sincerely hope it helps you if you need some inspiration during tough times.

Why one client isn’t enough 
Having only one client when you’re an editorial business owner is problematic for two reasons:

• you might lose that client
• your reliance on that client’s supply of work could lead to your neglecting what’s in your business’s best interests

The client-losing editor
You can lose clients for reasons completely beyond your control, including:

• they no longer need your services 
• they can no longer afford your services
• your contact moves to pastures new
  It happened to me. One of my primary contacts in a publishing house went on maternity leave in 2012. I noticed her absence – I didn’t work for that press for a year. Fortunately, I had plenty of other clients in my portfolio to ensure this didn’t affect my workflow. It was great when my contact returned to work 12 months later and offered me three novels in one hit, but I’m glad my business wasn’t dependent on her.
• they merge with other organizations
  My first job in publishing was for the UK arm of Williams & Wilkins, a Baltimore-based STM publisher. Prior to 1990, Wolters Kluwer, Lippincott, Raven Press, the medical division of Little Brown, and Plenum were competitors. Over the next decade these would all be subsumed under the WK umbrella – six potential clients gradually became one.

​The client-reliant editor
There are several reasons why you might become reliant on a client:

• you enjoy the work
• you value the experience and portfolio-building opportunities
• the client has a lot of work to offer and is able to keep you busy. That means you don’t have to spend time on marketing – your client is doing all the project-acquisition graft on your behalf. In other words, you’re benefiting from the client’s marketing efforts. This can be appealing to inexperienced marketers.

On paper, those are good reasons to work for a client. However, if it’s your only client, and things turn sour, you have a problem:

• perhaps the work has become more demanding
• maybe the rate of pay, which seemed good enough several years ago, hasn’t risen in line with your own cost of living
• your own circumstances have changed, meaning you need to work fewer hours for the same income

​If you have only one client, you have no choice – nowhere else to shift your focus, no one else with whom to negotiate, no one else from whom you can accept improved pay or working conditions, and no opportunity to phase out the one (now problematic) client on whom you rely.

Emergency marketing strategy
Whether you’ve lost your only supply of work or you’ve fallen into the trap of reliance on a now unsatisfactory client, there is action you can take immediately.

Here’s the free SOS editorial marketing plan I promised. Just click on the image to download.

The work you do … and the work you do to get the work you do
If you’re a freelance editorial pro, you’ll always have two jobs:

1. the work you do
2. the work you do to get the work you do

Pay attention to the latter so that you’re not at the mercy of the former.

It’s essential to protect your future interests by building a portfolio of several clients rather than focusing all your energies on one. If you put all your eggs in one basket and things go pear-shaped, the impact on your editorial business, never mind your emotional wellbeing, could be devastating.

If you’re not facing an emergency, you can afford to spread your business promotion over a longer period and focus on slower-burn activities such as content (value-adding) marketing. But if you are in crisis mode, there is action you can take right now that, with commitment, will generate positive responses.

You’re not a newbie – you have experience and you’ve already proven your ability to acquire a client. That’s a great position to be in, so use it to your advantage!

Good luck!

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

A potted guide to the different levels of editing ...
If you’re a beginner writer and you’re planning to self-publish, you’ll be thinking about getting your book fit for market. Some of you might not realize that there are different levels of editing. And even if you do, you might be fuzzy about what distinguishes each service or what it’s usually called.

No shame in that, believe me – even among professional publishers and independent editors the terminology differs. Consensus be damned! The irony that this lack of clarity and consistency exists in a profession that prides itself on, well, clarity and consistency isn’t lost on me or my colleagues!

​In an effort to untangle the issue, I’m offering you a potted guide to the different levels of editing – what each one deals with, what you might expect it to be called, and the questions to ask when you’re sourcing editorial help.

At the bottom of the article is a PDF that you can download to your preferred device and refer to whenever you want.

The basics
Think of the editorial process like a play with several acts: writing, drafting, sourcing feedback from beta readers, self-editing, developmental editing or manuscript evaluation, line editing, copyediting, proofreading, publishing. The elements in bold are what we’re focusing on today.

In a nutshell
Basically, there are two levels of work going on – the macro and the micro.

• MACRO – this is where developmental editing (also sometimes called content editing, substantive editing or structural editing) and manuscript evaluations (sometimes known as manuscript reviews or editorial critiques) are to be found. It’s big-picture work that looks at the novel as a whole.
  
  Editors who specialize in this level of service focus on how your book works – stuff like structure, plot, flow, point of view, characterization and pace.
  
  
• MICRO – this is where line editing, copyediting and proofreading are to be found. It’s sentence-level work that looks at the text on a line-by-line and word-by-word basis.
  
  Editors who specialize in these levels of service ensure your readers don’t trip up. Standard grammar, spelling and punctuation are focal points, but at copyediting and line-editing levels, clarity and readability are in play, too. Basic proofreading is usually the final prepublication check to catch any snafus that have been missed during the previous rounds of extensive professional revision.

What terms should you use when sourcing editorial help?
There’s a question! My advice is that you explain what you want rather than worrying too much about what it’s called. This is because different editors define their services in different ways. Here are some examples:

• I offer a copyediting service that I call ‘Proofreading Plus’ – so called because it goes waaaay beyond basic proofreading – and a separate final prepublication quality-control service.
• My colleague Sophie Playle offers a copyediting/line editing service that she calls ‘Line and copy-editing’, and three separate and different developmental editing services.
• My colleague Gale Winskill offers a service called ‘Copy-editing’ that includes deeper macro work, what Sophie and I would define as developmental editing.

And there you have it – three editors offering overlapping services and different terminology to describe what’s included. So what should you do?

Sorting out what you need

• Take a look at the PDF I’ve included to give you an idea of what kinds of amendments can be made at either book or sentence level and which service they might be included in (I’ve deliberately allowed for overlap).
• Then use the information as a cross-referencing point when you’re checking out potential editors’ websites. If afterwards you’re still not sure what you need, prepare a couple of sample chapters that you can send with a request to quote. That way, your editors can advise you on what they think needs doing and whether they have the requisite skills.
• Think, too, about the rounds of professional editing your book’s already been through (or not). If you haven’t yet commissioned prior assistance, you’re unlikely to be ready for a final prepublication proofread. I’m not saying this to be difficult – I’m just telling you what I’ve learned in 27 years of working in this industry!
• Consider asking editors to carry out short sample edits. Some of us charge a nominal fee while others do it for free. Even if an editor asks you to pay a nominal fee, consider it an investment. Samples will give you valuable information – not so much about who’s the best but, rather, who’s the best fit. You might just love the way one editor clicks with your writing even though several others have also offered excellent work.
  
  

Key points to remember

• Focus on what needs doing rather than what it’s called. You’ll save yourself a world of pain!
• Choose someone who makes you feel excited about being edited.
• Choose someone who’s comfortable with the genre you’re writing in. Take a look at editors' and proofreaders’ portfolios to see whether they have experience of working with books like yours.
• Once you’ve chosen your editor, brief them as well as you can. If you want your crime writing sharp and lean, and you feel you might have overdone the purple prose, tell them so they know that tightening up will be well received. If your fantasy novel is packed with made-up words, prepare your editor so they don’t bore you with unwelcome queries!
• Being edited makes some writers feel nervous or embarrassed. My telling you not to worry probably won’t help a jot, but remember this: we’re on your side – always! We’re your advocates and every change we make, or suggest, is done for you and serves your interests. We’re not there to criticize your writing but to elevate it.
• Be realistic. If you only hire one round of professional editing, at whatever level, please don’t expect perfection. It’s simply not possible.

So, that’s it for now. I hope you’ve found this discussion of the different levels of editing useful. If there are particular questions that you want clarification on, drop me a line and I’ll do my best to answer them.

As promised, here’s your potted guide! Just click on the image to download it to your device.

For more self-publishing resources, visit the library on my Self-publishers page. Or join the library to get monthly updates.

​Louise Harnby is a professional fiction proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Keeping your costs down
I’ve worked with many independent authors. Some are experienced, some are developing, and some are absolute beginners.

If you're in the early stages of your self-publishing journey, you'll probably welcome any help you can get. So in this article I'll summarize the problems I most often come across in beginner writing, especially in novels, so that you can raise your game and lift your writing to the next level more quickly.

​Also, paying attention to these issues at draft stage will reduce your third-party editing costs further down the line.

Don't forget to claim your free copy of my Guidelines for New Authors booklet, which includes this article and a wealth of additional information for beginner writers. You can find the link at the bottom of this post!

1. Rushing to publish rather than hushing to polish
Some new authors are so desperate to publish that they omit the drafting stage. Hush time means putting the book aside for a while and revisiting and self-editing with fresh eyes. If you don’t go through the drafting stage, you’re less likely to spot problems with plot, pace, readability and repetition. And that means your book will not be ready for the later stages of editing like copy-editing and proofreading.

Editor and writing coach Lisa Poisso has some excellent advice on managing the drafting process strategically: How to revise the early drafts of your novel.

2. Overwriting
Too much detail
Some beginner writers don’t trust their readers to fill in the gaps. This results in writing that gives too much detail. The narrative becomes laboured, boring even. There are some excellent examples in Christina Delay’s 5 Steps to Avoid Overwriting (Jami Gold blog); it’s what Gold calls ‘giving too much stage direction’:

Imagine if an author described a character traveling from a store to their home by listing every single action:

‘She inserted the key into the ignition. Turned the key. Waited for the engine to engage. Slipped the engine into reverse. Expertly maneuvered the car out of its parking spot …’

Gold recommends getting straight to the point – unless, of course, something important happens in the detail that’s key to moving the story forward. If it’s just detail that mimics the mundanity of real life, strip it out.

Repetition
Watch out for repetition, especially ‘wow’ words. If Jo thunders down the hallway, her face like thunder, you have a problem. If the reader is told that Mike is ‘in agony’ and ‘agonized’ several times in one paragraph, trim the fat (and think of some synonyms!).

High-intensity scenes of fear, danger, desire or confusion are those most prone to repetition and over-explanation in beginner writing, usually because the author is worried that the reader might not understand what the character’s experiencing. Gold calls these ‘emotionally overwrought passages of purple prose’.

When drafting, consider creating a list that features key moments of disclosure and emotion/response. By mapping these moments, you can see whether the descriptions lie in close proximity to each other, and whether you’ve already provided enough detail earlier in the book. Then you can cut accordingly. Less is more.

Telling twice
Telling twice is another consequence of not trusting the reader to fill in the gaps.

• ‘Help yourself to coffee if you wish. It’s over on the table.’ She pointed in the direction of the coffee table.

The bold text in the example above simply repeats what we already know and it’s therefore superfluous. It’s another issue to watch out for at self-editing stage. Removing this kind of detail makes the writing leaner and sharper.

3. Logic flop
Logic flop happens when writers try to avoid conjunctions (probably because they’ve been told that conjunctions are boring and shouldn’t be overused). This can lead to grammatical hiccups that disfigure the writing and trip up the reader.

• Running barefoot along the corridor, Roy bolted into the bedroom.
• Roy ran barefoot along the corridor and bolted into the bedroom.

In the first example, we have a character seemingly doing two things at once – running through one place while he’s making his way inside another. And to the discerning reader, the first phrase will even seem to modify the second (Roy bolted into the bedroom in a manner of running barefoot along the corridor).

The second, edited version introduces a conjunction that brings logic and clarity to the sentence. Conjunctions are a perfectly natural way to join connecting action clauses that happen one after the other, and don’t need to be avoided simply on principle. Don't be afraid to embrace them!

4. Reluctance to use contractions
The use of contractions isn’t always appropriate, particularly when the writer wants to introduce formality (e.g. in a historical setting or in academic non-fiction) or emphasis. However, in contemporary novel writing, the narrative can feel laboured if contractions are excluded, especially in dialogue.

In real life, people don’t say things like ‘we are going’ and ‘I would have liked to’ so it’s often better to offer the contracted form. If in doubt, say the words out loud. If the likes of ‘we’re going’ and ‘I would’ve liked to’ sound more natural in the context of your book, then use contractions. Readers won’t notice if you do, but they might stumble if you don’t.

5. Overuse of exclamation marks
Take care not to overuse exclamation marks. Too many can be distracting and overwhelm the text. Exclamation marks can detract from the gravity of a statement, making it sound upbeat when a different mood was intended – tension, fear, anger, danger. If you’ve used the right words to convey the mood, the exclamation mark will often be superfluous.

If you do decide that an exclamation mark is necessary, don’t use more than one. Compare the following:

• ‘I can’t believe she said that.’
• ‘I can’t believe she said that!’
• ‘I can’t believe she said that!!!’

Read them out loud and decide which one best conveys the speaker’s disbelief. I think the first does the job perfectly well. The second introduces a light-heartedness that may or may not be appropriate. The third is overkill.

6. Speech tagging problems – sighing, smiling, laughing
Arlene Prunkl’s ‘Dialogue in fiction’ series is my recommendation for independent authors who want free, detailed guidance on managing fiction dialogue effectively. Part III addresses speech tags (among other things), though the whole series is well worth reading.

Beginner authors can be reluctant to overuse he said/she said constructions, even though they’re the most discreet way of tagging.

Prunkl says, ‘Your job, as a newer writer, is to show emotion through the dialogue words themselves, not through the tags.’ She therefore recommends avoiding tags such as ‘hissed’, ‘sighed, ‘laughed’, etc. – not because they’re not good words but because they’re not words that describe the action of speaking. To hiss is to make a sharp sibilant sound; to sigh is to emit a deep, audible breath that expresses relief or sadness; to laugh is to express amusement through spontaneous sounds and movements of the face; to say is to utter words – and that’s why ‘said’ is an effective speech tag.

Take a look at these examples; the bold versions are clean, effective examples of dialogue tags that won’t trip up the reader.

• ‘You think I care?’ she laughed.
• ‘You think I care?’ she said, laughing.
• ‘I’m done with you,’ she sighed.
• She sighed. ‘I’m done with you.’

I'm not saying you should only ever use 'said' – just apply a little caution!

7. Formatting too early
Focus on making your book look beautiful after the bulk of the editing has been done. Fancy fonts and heavily designed text are difficult to work with at editing stage.

Furthermore, the layout might have to be reworked if there are major additions or deletions to the text during structural editing and copy-editing.

Word’s styles palette is sufficient prior to the design stage. You (or your copy-editor) can introduce consistency to the different elements of the book (chapter titles, headings, quoted matter, main text, captions etc.) in a way that’s clear and simple.

8. Unrealistic expectations of what’s possible in one pass
Some beginner writers think that one pass – a ‘final proofread’ carried out by a third-party professional – is enough to guarantee absolute perfection. It’s not. The mainstream publishing industry doesn’t believe it’s possible, and nor should the independent author.

If you hire a professional to proofread or copy-edit your Word file, and that file has not  been through previous rounds of extensive and meticulous editorial revision, there will likely be thousands of amendments – spelling, grammar, syntax and punctuation errors and inconsistencies; layout problems with regard to spacing and paragraph indentation; inconsistency with regard to character names and traits, and across word forms.
​
Don’t expect your editor or proofreader to say, ‘I’ve made 8,000 revisions to your document, compiled 67 queries, spotted four problems with character-history consistency, noticed two character-surname changes, offered 200 suggestions for alternative wording, and I guarantee that, in spite of this, I have not missed one single literal or contextual error.’

Get as many fresh eyes on your work as you can afford. If budget’s an issue, that’s fine, but make sure your expectations reflect this.

Good luck with the self-editing process!

​And as promised, here's your freebie! It includes lots of useful guidance and links for newbie writers. I hope you find it useful. Click on the picture to get your copy.

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Creating high-quality images for online promotion can be tricky if you’re not a design guru and don’t have access to expensive, top-notch software. I’d played around with Word, Publisher and PowerPoint because they’re already on my desktop, but the output was okayish at best. Then I found Canva and was converted.

Still, I wasn’t getting the best out of this excellent tool, mainly because I’m a fiction proofreader and copyeditor, not a designer.

Andrew and Pete to the rescue … I did exactly what they told me to do. And it worked! I was really chuffed with my first attempt – a really high-quality image that I’ll use as a booklet pic for my April article on client loss and emergency marketing. I reckon it’s my best pic ever and it gave me confidence. So then I updated my Twitter, LinkedIn and Facebook banners using the same method. And I've also played around with the idea in this blog post. Sky's the limit, I reckon! I recommend you have a go.

​​Get it here: How to Create Social Media Graphics ​(video and blog)​

If, like me, you’re committed to creating blogs posts with substance (no soundbites and clickbait for us!) then you, too, might end up with a lot of text.

The audience for The Proofreader’s Parlour expects that substantive content, but could I make it more interesting without compromising on tone and detail?

Andrew and Pete's post made me think about not only how I might use images more creatively (see 1 above) but also how I might complement, rather than change, what I’m already doing with multimedia. I’ve still some way to go before I make full use of their advice but I’ve started (see 1 above) and plan to develop this aspect so that I can make much more of my content accessible to multiple readers with multiple preferences.

What really grabbed me is the concept of taking the key points of a written message and delivering them in alternative formats. Many of us aren’t new to embedding templates, screencasts and instructional videos into our blog posts, but Andrew and Pete have inspired me to expand the ways in which my readers can access the core textual content in my blogs, too.

If you have substantive text-based posts that your visitors return to often and your editorial blog’s heavy with content, some inconvenient trawling might be required by your readers to locate that information. Repurposing sections of the material in, say, booklet form turns a post into a tool, because the valuable stuff you’ve created can be downloaded onto your readers’ chosen devices and accessed at their convenience.
​
​​Get it here: How to Write Better-Looking Blog Posts (blog, video and booklet)

​I overhauled my home page after reading this post.

• I updated my Weebly theme (it didn’t cost me anything but time) to a cleaner, more modern design that I felt better represented my business (while retaining my branded colourway).
• I added call-to-action buttons right at the top to help my visitors better understand what I want them to do (what the duo call Most Wanted Action).
• And, to increase engagement with my primary target audience of independent authors, I gave my mission statement the prominence it deserves. Previously it had been buried elsewhere on my site.

The post includes a free booklet, Home Page Chemistry: A Checklist for Getting Your Visitors to Fall in Love with Your Business (it's a great example of these two content marketers practising what they preach).

​​Get it here: Home Page Design | Making Your Home Page a Knockout (blog, video and checklist)

... So those are my top tips to introduce you to the world of Andrew and Pete. I love their full-on and fun style of sharing their wisdom. It’s engaging and inspiring.

The biggest pull, though, is their handholding approach. They assume no prior knowledge, so even if you’re a newbie marketer you, too, can follow their step-by-step guidance.

I hope you’ll find ways to incorporate their advice into your own marketing journey. If you’re nervous about business promotion, just remember that you don’t have to do everything in the zany way they do it! Take the core learning points and decide how you might use them in a way that feels comfortable for you, works with your brand, reflects your business goals, and engages with your clients.

There’s plenty more on offer via the Andrew and Pete website. And you can find them on Twitter at @AndrewAndPete.

Enjoy!

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

• Simple automatic spellchecking
• Advanced automatic spelling correction
• Using MultiSwitch
• Reference citation checking
• ProperNounAlyse
• HyphenAlyse
• Advanced FRedit use
• Line editing
• Macros for Editors – Summary

I’ve included a link to 'Using MultiSwitch'. From there you can access all the other screencasts and subscribe.

You can download all of Paul's scripts via his book, Macros for Editors.

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

If you’re an editor or proofreader who’s never once switched off Track Changes (TC) in the middle of an edit and then forgotten to toggle it back on again, congratulations – you’re a rare creature indeed.

​I’m not rare. I’ve done it several times. If you’re like me, you know that sinking feeling – that you’re going to have to go back to where you stopped tracking and redo the work. I've come close to weeping when this has happened. It’s a waste of  precious, precious time, pure and simple!

​Until recently, my solution consisted of frequently double-checking whether TC was on or off. No big deal, you might think. After all, it’s easy enough to take your eye up to the TC button on the Review tab and see whether it’s greyed out – only a tenth of a second. But those tenths add up.

Furthermore, I’m not billing my clients for my attention to the TC button; I’m billing them for proofreading and editing. I should be focusing on the text, not distracting myself with checking that TC is on.

I could work with ‘All Markup’ (or ‘Final Showing Markup’ in earlier versions of Word) showing, but that’s just another distraction. I want my eyes and brain to focus on what my client has written, not what I’ve amended.

Paul Beverley, naturally, has the solution. It’s a macro called VisibleTrackOff4 and it’s amazing!

Even if you don’t like macros, don’t use macros, are wary of macros, this is one macro that you should consider installing anyway. Trust me. It's a lifesaver.

By the end of this article, you’ll know how to ensure you never forget you’ve switched off Track Changes. I’ll show you the following:

• How it works
• How to install it
• How to run it efficiently
• Alternative versions with different formatting options

How it works 
In brief, VisibleTrackOff4 is an alternative TC on/off switch. You run this macro instead of using Word’s TC button.
​
I work in Windows 10 with Word 2016. On my screen, the TC button is accessible via the ribbon in the Review tab. Your view may be slightly different.

When you use VisibleTrackOff4 (rather than the TC button shown above) to switch on TC, your page appears white, as usual. However, when you use it to switch off TC, your page turns yellow. As you toggle TC on and off, your page colour toggles too. If the page is yellow, you know TC is off. That’s something you can’t miss, and that’s why it’s foolproof.

To use the macro efficiently, you can do one of the following:

• Create a shortcut key
• Add the macro to your Quick Access Toolbar
• Create a custom button in your ribbon (Word version 2010 onwards)

I’ll show you how to do all three in the ‘How to run it efficiently’ section below.

How to install it
Here’s how to install the macro:

• Download Paul’s book from his website, Archive Publications
• Open TheMacros.doc
• Search for VisibleTrackOff4
• Select and copy the script, including the title ‘Sub VisibleTrackOff4()’, right down to and including ‘End Sub’
• Open the ‘View’ tab on Word’s ribbon
• Click on the ‘Macros’ button

• Click ‘OK’ if you get the message ‘This command will stop the debugger’

How to run it efficiently
To switch TC on and off efficiently using VisibleTrackOff4, you can do one of the following:

• Create a shortcut key
• Add the macro to your Quick Access Toolbar
• Create a custom button in your ribbon (Word version 2010 onwards)

Create a shortcut key

• Right-click anywhere on the ribbon
• Select ‘Customize the Ribbon’, or ‘Customize Quick Access Toolbar’, depending on your software
• Click on the ‘Customize…’ button at the bottom 

Add the macro to your Quick Access Toolbar

• Right-click anywhere on the ribbon
• Select ‘Customize Quick Access Toolbar’
• From the drop-down ‘Choose commands from:’ box, choose ‘Macros’
• Scroll down to find the macro and click on it
• Click on the ‘Add’ button followed by the ‘OK’ button
  

​This is what your new button will look like:

Create a custom button in your ribbon (Word version 2010 onwards) 

• Right-click anywhere on the ribbon
• Select ‘Customize the Ribbon’
• Look to the right-hand column
• Scroll down and click on ‘Review’
• Click on the subentry ‘Tracking’
• Click the ‘New Group’ button
• Now look to the left-hand column
• From the drop-down ‘Choose commands from:’ box, choose ‘Macros’
• Scroll down to find the macro and click on it to select it
• Go back to the right-hand column and click on ‘New Group (Custom)’
• Click the ‘Add’ button followed by the ‘OK’ button

This is what your new button will look like:

Other versions
You don’t have to go for the yellow-page effect. Paul’s provided other options. The installation and quick-access instructions are the same; only the script you’ll need to copy and paste is different:

• VisibleTrackOff – embossed effect
• VisibleTrackOff2 – blue dotted underline
• VisibleTrackOff3 – wiggly lines
• TrackOnOffAudible – beeps

​
Summing up
I prefer the yellow-page effect because it’s so obvious, and because it doesn’t interfere with my view of the text while I’m amending with TC off.

I also prefer to run the macro with a custom ribbon-based button because it’s right up there alongside Word’s TC button, which is what I’m used to. I’ve created a shortcut key so that I have choice in the matter. This comes in handy when I need regular access to the Styles tab and don’t want to keep switching the tabs on the ribbon.

I urge you to try this macro. Remember, you need never again endure the frustration of having forgotten to switch on Track Changes! 

P.S. My colleague Adrienne Montgomerie was single-handedly responsible for showing me how easy it is to customize the ribbon so that you can easily and quickly access any command. Her article ‘Make a Custom Tab on Word’s Ribbon’ is a must-read if you want to increase your onscreen efficiency.

And, as always, thanks to Paul Beverley for creating some brilliant macros, and for giving me permission to bang on about them via my blog!

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

My Student Proofreading Toolkit includes 17 handy Word find/replace strings and wildcard searches that will help you tidy up your PhD thesis or Master’s dissertation before you hand it over to a third-party professional proofreader or submit it to your university’s assessors.

The toolkit includes:​

• 17 self-editing tasks
• advice on using Word’s ‘Styles’ function
• a brief discussion of stylistic preferences
• links to 17 popular academic style summaries (e.g. CMOS, APA and OSCOLA)
• guidance on choosing a professional proofreader

These DIY tips are designed to complement, not replace, a rigorous proofread. You can polish your document at any stage, but, for the sake of efficiency, I recommend carrying out the tasks after you've finished writing your thesis or dissertation and reviewed its purpose, content and structure.

No advanced technical knowledge is required – even the novice Word user will be able to implement these tasks by following the step-by-step instructions (and associated screenshots). You can even select and copy some of the longer find/replace and wildcard search strings from the PDF.

A word of caution – always save a backup copy of your file first, just in case you implement changes incorrectly. It's easier to revert to a fallback document than to repair a damaged one. I always test complex find/replace and wildcard search strings beforehand.

The self-editing tips I’ve chosen are some of my personal favourites. I hope you find them as useful as I do!

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Useful editorial software, resources and templates
I've recently expanded my Resources page to provide fellow editors and proofreaders, particularly new entrants to the field, with a one-stop shop for some of the business tools I've created.

• An editorial invoice template (UK version; if you live outside the UK, your tax authority might require the inclusion of different information). The template includes dropdown boxes to speed up invoice-building for regular clients (Excel)
• PDF proofreading stamps
• An editorial accounts-and-scheduling template (Excel)
• An editorial style-sheet template (Word)
• An editorial progressive-pricing-array template (Excel)
• A list of national editing and proofreading societies

Where appropriate, I've included the raw Excel or Word files, rather than PDFs, so that you can amend for your own needs.

Visit the Other Resources page to access the links.

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

MultiSwitch is another gem of a macro created by my colleague Paul Beverley.

It’s available in his free book, Computer Tools for Editors.
 
In a nutshell, it allows you to switch around a word (or words) with a single keyboard shortcut. I use it to save time with every single Word-based project I work on.

​So imagine that you’re editing or proofreading a Word file in which the author repeatedly uses ‘which’ for restrictive relative clauses. You want to change it to ‘that’. This means carrying out three small actions: select, delete and retype.

That’s not a problem if the issue occurs twice in a file, but if it occurs tens or hundreds of times, those seconds are going to add up and eat into your hourly rate. And let’s not get started on the ache in your wrist!
 
Naturally, you might notice that a particular job has a number of similar niggles that you want to attend to, in which case this macro will be even more of a productivity-enhancer.

I’m currently working on an 85K+ academic book in Word – multiple authors, some whose first language isn’t English. The publisher is a stickler for the which/that and last/past prescriptions, even though many in the UK are a little more forgiving. There are hundreds of instances, and MultiSwitch is saving me soooo much time!
 
Give it a whirl!

MultiSwitch in action
To run MultiSwitch, you simply place your cursor before or in the word you want to change (in our example here, ‘which’), and hit your keyboard shortcut (I’ve assigned Ctrl Q, but you can choose whatever you like). Then, bingo, the macro amends ‘which’ to ‘that’.

Here's a teeny-tiny video of me using MultiSwitch. This demo aims merely to show you where to place the cursor prior to hitting your assigned shortcut key command, and what you will see on your screen (a little flickering as the macro makes the switch). 

If you don’t know how to assign a keyboard shortcut, don’t worry – I’ll show you how later in the article. 

The beauty of MultiSwitch is that you need only one keyboard shortcut for a ton of different word switches. My list currently includes the following switch options: 

• that – which
• which – that
• last – past
• like – such as
• less – fewer
• Less – Fewer

However, I’ll be adding more as and when I need to. Again, further down, I explain how to create your list – it’s a doddle.

Installing MultiSwitch
Go to Paul’s website and download Computer Tools for Editors.

Save the zipped folder to your computer and extract three files: one is an overview of the macros – what they are, what they do, how to store them and so on – plus all the programs themselves; another contains just the actual macro programs; a third is called ‘Beginners Start Here’; and the final file is a style sheet. The file you need to open in Word is ‘The Macros’.

Use Word’s navigation menu on a Mac (or Ctrl F on a PC) to open the Find function. Type ‘Sub MultiSwitch’ into the search field and hit ‘Return’ twice. That will take you to the start of the relevant script.

Select and copy the script from ‘Sub MultiSwitch()’ down to ‘End Sub’.

Still working in Word, open the ‘View’ tab and click on the ‘Macros’ icon on the ribbon:  

A new window will open.

If you don’t have any macros already loaded:

• Create a test macro that you can delete later.
  
• First, make sure the ‘Normal.dotm’ template is showing in the ‘Macros in:’ box.
  
• Type ‘TEST’ into the ‘Macro name:’ box.
  
• Click on the ‘Create’ button.
  
• Your TEST macro will now show up. From now on, it’ll be easy as pie to add additional macros.
  

If you already have macros loaded (your TEST macro or any other):

• Click on ‘Edit’.

​​
This will open up another window:

• If necessary, use the scroll bar to take you to the bottom of the text.
• Paste the MultiSwitch script at the end, under ‘End Sub’.

Don’t close this Visual Basic window quite yet – there’s something else you need to do first!

Creating your MultiSwitch list
Now head over to Word. Open a new document and call it something meaningful (mine’s called LHSwitchList). 

Create your list using the following style:

that
which

which
that

last
past

like
such as

less
fewer

Less
Fewer

Save it somewhere just as meaningful! (Mine’s in my Macros folder, but you can save it wherever it suits you.) Now close the document.

You can amend this list any time you want to – just add or delete as you see fit.

Changing the MultiSwitch script
Now you're going to make two small amendments to the macro script so that it's personalized for you, so go back to the window into which you pasted the MultiSwitch script.

At the top of the script, you’ll see the following:

Sub MultiSwitch ()
‘ Version 11.05.16
‘ Scripted word/phrase switching

maxWords = 4
listName = “LHSwitchList”
' Set min number of chars for an abbreviation
minChars = 2

myDir = “C:\Users\Louise\Dropbox\Macros\”

The text in red shows how I’ve customized the script to suit my needs – you need to put in your own switch-list file name and location.

Now you can close the window by clicking on the ‘X’ in the top right-hand corner. Do the same with the general Visual Basic window too. Don’t worry if you get a message about a debugger – just press ‘OK’.

Creating the keyboard shortcut for running MultiSwitch
If you don't know how to create keyboard shortcuts, this section's for you. If you do know how to do this, you don't need to read any further!

I'm working in Word 2016 on a PC. If you are too, the instructions are as follows:

• In Word, select ‘File’, ‘Options’, ‘Customize Ribbon’ (1). 
• Click on ‘Customize’ (2). A new box will open up entitled ‘Customize Keyboard’.
• In the ‘Categories:’ window (3), scroll down and select ‘Macros’.
• In the ‘Macros’ window (4), select ‘MultiSwitch’.
• Finally, choose your preferred keyboard combination by typing it into the ‘Press New Shortcut Key’ window (5).
• Select ‘Assign’ and ‘Close’.

(If you are working in a different version of Word, see pp. 14–15 of the ‘ComputerTools4Eds’ file in the Macros folder that you've downloaded from Paul’s site in order to install this macro. There, he provides details of the process for different versions of the software.)

The image below shows how I assigned a keyboard shortcut to another macro called ‘UndoHighlight’. The steps are exactly the same.

That's it! I hope this macro saves you as much time as it's saving me!

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

There have been some interesting discussions about pricing models in the online editorial community recently.

• My colleague John Espirian, a specialist technical writer, prefers per-project fees for long jobs (‘How do technical writers charge?’).
• One of my own specialisms is proofreading for independent fiction authors. I prefer to build my quotations based on a word count.
• Then again, I know copy-editors who prefer to build their quotations based on the total number of hours a project will take.

If you prefer a per-word model, then you may like to consider using a progressive-pricing array formula. It’s not the only way of doing things, certainly, but it’s something I’ve tested and am currently working with. I like this model because it incorporates economies of scale.
 
Before I explain how the progressive-pricing array works, a very quick word on price presentation versus determination.

Price presentation versus determination
Price presentation and determination are two different things.

• How we present our quotations to clients should be determined by what our clients have asked for. If the client has asked for an estimated bottom-line project fee in euros and I respond with a £ per 1,000 words figure, I’m not going to instil confidence in them that I can follow a brief.
• How we determine a price should be based on our own needs and requirements. Once we’ve determined what the price will be, we can present it in the way that our client has requested.

Economies of scale
When a proofreader is working on larger projects, there are economies of scale. I’m currently working with an independent fiction author on nine books (which I’m proofreading over a five-month period).

Most of the projects are between 70,000 and 80,000 words in length; a couple are around the 50,000-word mark; and one is a short story with just over 10,000 words. All of the books feature the same central protagonist and a small cast of supporting characters.
 
The serial nature of the content, the reappearance of key characters, and the concentration of action in predominantly one fictitious location all serve to save me time as I move through each book. This means:

• I don’t have to build a style sheet from scratch.
• The author’s preferences are stable.
• I’m getting to ‘know’ the characters so I spot inconsistencies more quickly and easily as time goes on.
• I’m increasingly familiar with the author’s writing style, so there’s less head-scratching time.

Even so, the average number of words proofread per hour was fewer for the 10K-word short story than for the previous 70K-word novel. And in the first few hours of working on the the 70K-word novel, I proofread fewer words per hour than was the case in the hours that followed.
 
That’s because, even with all the benefits of working on a series, each book still needs a certain amount of ‘stuff’ done to it in its own right:

• Overall layout and consistency checks.
• Wildcard searches and macro runs that help me spot and solve global problems efficiently.
• Plus, of course, the actual word-by-word proofread for grammar, spelling and punctuation issues.

If we take the series element out of the equation, and compare the proofreading of two books in a similar genre for two separate authors, the impact of project length for the proofreader can become even more stark.
 
Consequently, I want to price the 30K-word novella differently from the 100K-word tome. It’s for this reason that while I like to build my quotations on a per-word basis, I don’t want something as straightforward as a £6, £8 or £10 per 1,000 words model. Instead, I want something that respects the economies of scale that come with larger projects. This is where the array comes into its own.

How does a progressive-pricing array formula work?
An array formula can look at a number (a word count, in our case) and then, based on a set of ranges that we’ve provided, price those ranges accordingly. Here’s a very basic example. You might set up your array such that the following are true:

• First 5,000 words are priced at £25 per 1,000 words.
• The next 10,000 words are priced at £10 per 1,000 words.
• The next 20,000 words after that are priced at £7 per 1,000 words.
• The next 50,000 words after that are priced at £6 per 1,000 words.

This would result in the following quotes:

(1) If you were asked to provide a quotation for proofreading a 2,000-word article, the price would be £50 (£25 per 1000 words).

(2) If you were asked to quote for a 10,000-word short story, the price would be £175. This is based on:

• • £25 per 1,000 words for the first 5,000 words (£125)
  • plus £10 per 1,000 words for the remaining 5,000 words (£50)

The average price per 1,000 words works out at £17.50.
 
(3) If you were asked to quote for a 70,000-word book, the price would be £575. This is based on:

• £25 per 1,000 words for the first 5,000 words (£125)
• plus £10 per 1,000 words for the next 10,000 words (£100)
• plus £7 per 1,000 words for the next 20,000 words (£140)
• plus £6 per 1,000 words for the next 35,000 words (£210)

The average price per 1,000 words works out at £8.21 and reflects the economies of scale that the proofreader will be able to benefit from because of the size of the book.

A progressive-pricing array formula in action
I’ll admit that it did take some fiddling to get the actual formula working for me. I used this as my template: ‘Progressive Pricing Formulas For Excel’ (www.cpearson.com). The example given is similar to the setup I wanted for my own quotation tool, and it provides a formula that I was able to tweak for my own data. See also my downloadable sample below.

Here's a screen shot of what a progressive-pricing array formula might look like in Excel.

And here's an Excel template you can download and adapt to suit your own preferences. Note that you'll need to look carefully at, and amend, the array-formula box to ensure that the cell descriptions are correct for your data (that's the fiddly bit!).

One size doesn’t fit all
The usual caveat applies – my way certainly isn’t the best way or the only way! It’s just one approach of several. I wanted to share my experience with you so that if you fancy testing a progressive-pricing array, you have a framework to get you started.

In practice, you might want to build more ranges into your array formula to provide increased flexibility. The numbers I’ve used above are just for illustrative purposes.

I find the array formula useful for ballpark quotations because I want to provide a quick quote based on a word count. Obviously, any professional proofreading project needs to be evaluated on more than just a word count before terms are agreed and confirmed.

Those editorial professionals working with complex projects that require varying levels of intervention might find a progressive-pricing array formula far too limiting. It functions well for me as a proofreader because of the nature of my work. I do, however, have different arrays set up for different client types (e.g. students for whom English is a second language; independent authors whose first language is English) and for different levels of proofreading service. The prices I assign to the various ranges are different in order to reflect the variances in how I work with the text and the speed at which I am able to proofread.

How do you build a price for editorial work?
How do you build your quotations? Per hour, per word, per day, per project? Have you tested different approaches for building your fees? And do you find that different models work better for different types of editorial work?
 
I think that, at the very least, we should test our pricing models. I’ve written about this in more detail on the An American Editor blog: ‘The Proofreader’s Corner: Testing Editorial Pricing Models’.
 
I’m always interested in learning how others go about pricing editorial work so please do leave a comment if you have something to share. 

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

My colleague Helen Mortimer has kindly supplied instructions for uploading my PDF proofreading stamps into PDF-XChange Editor 6.0 (the latest version of the software).

Don't forget that instructions for the following are also available:

• PDF-XChange (Pro and the free Viewer; written instructions and video)
• PDF-XChange Editor 3.0 (courtesy of Steve Hammatt)
• Acrobat 9 (Standard and the free Reader)
• Acrobat <9 (Standard and the free Reader)
• Acrobat X (courtesy of Jenny Macgregor)

See Installation Instructions for Proofreading Stamps for more information.

Louise Harnby is a professional proofreader and the curator of The Proofreader's Parlour. She is also the author of several books on business planning and marketing for editors and proofreaders.

Visit her business website at Louise Harnby | Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

My new free PDF resource for independent authors is out now: The Mechanics of Self-Publishing Print Books: 10 guidelines in 10 minutes.

Aimed at writers who want to do their own print formatting – using Word – this PDF toolkit helps the independent, self-publishing author to deliver a professional-looking book to market. The guidelines are based on my own experience of publishing three print books, and my previous career experience within the publishing industry​.

And, because time is precious to us all, I've designed it so that each of the 10 sections can be read in a minute!

If you'd like to download this booklet's sister PDF, visit: The Mechanics of ​Self-Publishing Ebooks: 10 guidelines in 10 minutes

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

My new free PDF resource for independent authors is out now: The Mechanics of Self-Publishing Ebooks: 10 guidelines in 10 minutes.

Aimed at writers who want to do their own eformatting – in Word – this PDF toolkit helps the independent, self-publishing author to deliver a professional-looking ebook to market. The guidelines are based on my own experience of publishing three ebooks, and my previous career experience within the publishing industry​.

And, because time is precious to us all, I've designed it so that each of the 10 sections can be read in a minute!

Complementary guides – on the mechanics of self-publishing print books, and on the benefits and challenges of self-publishing – will follow in due course. 

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

If you're a writer or editor who says, "That's not a word!", then this useful link might make you reconsider: OneLook Dictionary Search. (Hat tip to Stan Carey on the Sentence First blog for drawing my attention to it.) 
 
Simply search for your chosen not-a-word and OneLook will provide you with a list of links to dictionaries that provide definitions according to current usage.
 
Of course, that doesn't mean you have to like the word that you think is not a word but that actually is a word. Nor does it mean you have to use it. But not liking or not using a word is not the same thing as denying its existence!
 
The following make for interesting and often entertaining reading (the sometimes passionate comments attached to these posts are worth taking a look at, too):

• "‘Not a word’ is not an argument" (Stan Carey, Sentence First).
• "‘Not a word’ is not an argument" (John E McIntyre, Baltimore Sun)
• "Not a word" (Arnold Zwicky, Language Log)
• "When is a word not a word? When it doesn't make it into the dictionary" (Max Davidson, Telegraph)
• "Yes, irregardless is a word" (Jonathon Owen, Arrant Pedantry)
• "What Do Words Really Mean?" (Victoria Neufeldt, The Editors' Weekly)
• "How new words are born" (Andy Bodle, Guardian)
  

Louise Harnby is a professional proofreader and copyeditor. 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, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

Every writer, copy-editor and proofreader comes across words that are used correctly but spelled incorrectly (typos), but we also have to look out for words that are spelled correctly but used incorrectly – this is the world of confusables.

What are confusables?
Some confusables are not only spelled differently, they sound very different too, e.g. imply/infer; militate/mitigate; reactionary/reactive. In this case, the writer might have misunderstood the meaning.

​Some confusables are homophones – words that are spelled differently but sound the same, e.g. rein/reign; stationary/stationery; prophecy/prophesy; loath/loathe. In this case, the writer understands the different meanings, but is unsure of the appropriate spelling.

Then there are errors that are simply a result of hands moving too fast over a keyboard – the meanings and correct spellings are known to the writer, but, in their haste, perhaps they’ve transposed a couple of letters or omitted a character.

​Or it may be that the automatic spellcheck has kicked into gear and the writer hasn’t noticed the problem because they’re concentrating on the bigger picture. Examples might include e.g. filed/field; adverse/averse; pubic/public.

Blind spots
Writers aren't the only ones with blind spots. Editorial pros do too. It’s our job to spot these problems and fix them. However, we’re only human and most of us have a few blind-spot words that our eyes are, on occasion, less likely to notice, even though we do know the differences in meaning and spelling.

My own blind spots are gaffe/gaff, brake/break and peek/pique/peak. I don’t know why my eye doesn’t spot these pesky confusables as readily, especially when the likes of compliment/complement or stationary/stationery scream at me from the page! However, I accept that I do have blind spots and have taken steps to ameliorate the problem with a little mechanical help – the macro.

How can macros help?
Using macros enables us to identify possible problems before we get down to the business of actually reading, line by line, for sense.

Every time we find an error, we have to think about it and decide whether to amend. By reducing the number of interruptions, we can focus our attention on the flow of the words in front of us and increase efficiency.

For this reason, I, like many of my colleagues, run my macros at the beginning of a project (though I often repeat the process at the end stage too).

What’s on offer in the world of confusables?
There are several free macros available to the copy-editor or proofreader who wants to tackle confusables with efficiency. See, for example, the excellent “A Macro for Commonly Confused Words” published by C.K. MacLeod on Tech Tools for Writers (updated July 2015).

Another option, and the one that I’m currently using, is the CompareWordList macro created by Allen Wyatt on WordTips. See “Highlight Words from a List” (updated July 2015). 

As some of you will already know, Wyatt has two WordTips sites; the one you use will be determined by which version of Word you’re running.

The linked article above will take readers to the article written for MS Word 2007, 2010 and above. If you are working with an older version of Word, you’ll need to follow Wyatt’s links to the sister site.
 
Why I’m using Wyatt’s CompareWordList
CompareWordList is currently my preferred tool simply because of how easy it is to create and update my own list of words to be checked – words that can, on occasion, be blind spots for me.

As I’ll show below, customizing the list of confusables doesn’t require me to amend the script of the macro once it’s installed. Instead, all I have to do is amend a basic list in a Word document – nice and simple!

Using CompareWordList 1: Create your list of confusables
The first thing to do is to create a list of the words you want the macro to find, and highlight, in a Word document.

• Simply open up a new Word document, give it a name (I called mine “confusables”), and save it in your preferred folder (I chose to save it in my Macros folder, but you can save yours wherever you want).
• Make a note of the location of your document (for example, mine is in c:\Users\Louise\Dropbox\Macros\confusables.docx).

For speed, and so you can see the basic format of the list, you can download a copy of a list here. If you want to rename it, do so. Then add words, or remove them, as you see fit.

Using CompareWordList 2: Get, and tweak, the code
Visit “Highlight Words from a List” and copy the code. If you’re completely new to installing macros, just paste the script in a Word document for now so that you can tweak it easily.

​Below is a screenshot of Wyatt's code. The highlighted sections show where I’ve tweaked the code to suit my own needs.

Tweaks to consider
(1)  I’ve changed Wyatt's code (as per his suggestion) so that it describes where my list of confusables is located: sCheckDoc = "c:\Users\Louise\Dropbox\Macros\confusables.docx". You’ll use the location you made a note of when you created your own list (see the section above – Using CompareWordList 1: Create your list of confusables).

(2) Wyatt's code emboldens the words found by the macro; I wanted them highlighted so I replaced the highlighted text as follows: .Replacement.Highlight = True.

(3) I changed the Match Whole Word instruction to False because I wanted the macro to find part words. This, of course, will pull up some false positives but it was the easiest solution I could find.

(4) I also changed the Match Case instruction to False.

Now that you’ve tweaked the code to suit your own needs, you’re ready to install it (the basic, step-by-step instructions below are provided for the benefit of those who are completely new to macro installation).
​
Using CompareWordList 3: Install the code
With Word open, open the “View” tab and click on the “Macros” icon on the ribbon.

• If necessary, use the scroll bar to take you to the bottom of the text.
• Paste the CompareWordList script at the end, under “End Sub”
• Close the window using the X in the top right-hand corner.

The installation is now complete.

Running CompareWordList

• Open the Word file in which you want to locate potential confusbles.
• Click the “View” tab.
• Click the “Macros” icon on the ribbon.
• Select "CompareWordList" from the list.
• Click “Run”.

Removing highlights one by one
Here’s a tiny macro that I recorded to remove a highlight as I move through a Word document. Installing this means I simply have to click on a highlighted word and run the macro.

Assigning a shortcut button (see below) makes the job easy and efficient. I decided on Alt H because I don’t have that keyboard shortcut assigned to any function that I carry out regularly.
​
Sub UndoHighlight()
'
' UndoHighlight Macro
'
'
    Options.DefaultHighlightColorIndex = wdNoHighlight
    Selection.Range.HighlightColorIndex = wdNoHighlight
End Sub

To install: Simply copy the red script above and install it in the same way that you installed the CompareWordList macro.

To create a shortcut key: In Word, select File, Options, Customize Ribbon (1). Click on Customize (2). A new box will open up entitled “Customize keyboard”. In the Categories window (3), scroll down and select Macros. In the Macros window (4), select UndoHighlight. Finally, choose your preferred keyboard combination by typing it into the Press New Shortcut Key window (5). Select Assign and Close.

To remove ALL highlighting in one go: For this job, Paul Beverley’s your man. A huge number of macros are available in his free book, Computer Tools for Editors (available on his website at Archive Publications).

Hope you find this useful!

Louise Harnby is a professional proofreader and the curator of The Proofreader's Parlour. She is also the author of several books on business planning and marketing for editors and proofreaders.

Visit her business website at Louise Harnby | Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.