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If speaking in public gives you the heebie-jeebies, professional presenter Simon Raybould has some advice that will improve your performance and calm your nerves.
Over to Simon … 
A good presentation will change someone’s mind
You edit words for a living, right? It’s a cool job, I admit, and not one I could conceivably aspire to.
As someone once put it, 'Simon, being your proofreader must be like being Seán McGowan’s dentist.’ And yes, it’s true. She once sent me an email with the words ‘… first paragraph alone! Are you doing it on purpose? Are you trying to annoy me?’ But I think I have an even more cool option for you. Instead of editing words, why not edit minds? I’m not talking about some sci-fi concept – it’s what I do for a living. A good presentation will change someone’s mind ... and with it, their world. A good presentation is a form of telepathy – sending ideas from your mind to someone else’s. The upsides are awesome, but the downsides are pretty serious too:
But all is not lost – there are cures … or at least things that will help. Here are a few quick-to-master ideas and tools that will help you to present at conferences (or anywhere else) with confidence. Some are easy, some are harder, but all of them work. 1. The least popular tool – just doing it
Let’s start with the least popular option.
When I ask people why they want to be confident, I often receive answers such as ‘If I were confident I’d be able to XYZ.’ And that’s great – they have a specific thing in mind. What’s not so great is that they seem to think that confidence alone will mean they don’t have to invest time in doing XYZ. I’m going to be blunt … you can’t shortcut your way to confidence. Don’t try to get confident before you do something. You can only get confident by doing that thing. Think about how you learned to ride a bike. Did you look at it, thinking, Cool! What an awesome bike. As soon as I’m a confident cyclist I’ll hop right on and go for rides in the hills? Nope. What you did was sit on it, fall off, get back on, fall off, get back on … and so on. Presenting is like that. Of course, with bikes you have stabilizers (and parents) holding you up. Stick with the analogy for a moment and figure out how you can make presentations in safer ways and places – stabilizers, as it were. How about making presentations under the following conditions:
I’m sure you get the idea. To mix my movement metaphors … don’t run before you can walk. 2. Know what success looks like
We all know what could go wrong, right? People might laugh at us; we could fall off the stage; cold sweat might drip down our backs or melt our mascara.
And that’s the thing… we know what the bad things look like. But what about success? Not fainting on stage doesn’t count. Things like this count:
Define it. After all, if all you can identify is failure, that’s what you’ll concentrate on. But if you can define success, you stand a chance of concentrating on that instead. (Defining success also helps you to design your conference presentation more effectively. If you don’t know what you want to achieve, you’re more likely to omit core material.) 3. Sentence zero ... the breathing tool
When we’re scared, we breathe from the top of our lungs. Air comes out in a rush, making our voices sound thinner, breathier and – frankly – less authoritative.
Hold that thought in your head for a moment and think about this: Lots of people tell me that once they get going in a presentation, things get better. So the important thing is to start well, right? Right. If you can control your breathing at the start, things are going to go better. Sentence zero is a handy tool for doing just that. Get the very first sentence of your presentation straight in your head. Be specific. For now, let’s pretend that Sentence One is ‘Hello, my name is Simon.’ Now think of a sentence that could go before it, finishing with the word ‘and’. For now, let’s pretend it’s 'Goodness, what a hideous lime green that back wall is, and …' We’ll call this Sentence Zero. Now, as you start your presentation, say Sentence Zero+Sentence One in one breath, but only use your voice for Sentence One. What that means is that your audience only hears Sentence One but you’ve already used the high-pressure, anxiety-sounding breath from the top of your lungs on the silent Sentence Zero.
4. Ditch the script
Writing is difficult. That’s why authors need you, right? So what on earth makes you think you can write a script for your presentation?
If it was that easy, we’d all be writing massively successful West End and Broadway plays. Don’t try. Instead, define your structure.
Then, when you stand up to present, use the keywords as markers around which you improvise. Trust me, you’ll sound more natural and be much, much more interesting. Plus, you won’t spend time worrying about the massive confidence-drainer that is 'Did I get the wording absolutely right according to the script?' As an aside, the answer is no. No one does unless they’re RSC-grade actors. What you’ll lose in the occasional fumble you’ll more than gain in sounding more relaxed and natural. Plus, you won’t commit the ultimate presenter’s sin of using Latin words. It’s an over-simplification but we’re more likely write using the Latin-orientated words (‘commence’ rather than ‘start’) and speak using the Saxon versions (‘guts’ rather than ‘intestines’). Ditching the script means you don’t speak like a textbook. 5. Wasp-swatting: The power of the list
A while ago, my team and I sat down for a meeting. Pizza and wine might have been involved. One of the things we asked each other was what made us nervous.
It turned out that about one-third of our conference nerves came not from the presentation but from the logistics that went with it.
Logisitical/trivial problems are like wasps. One seems manageable. A swarm’s a different matter. Each issue might be negligible on its own, but all of them together have a noticeable impact. Similarly, each on its own is easily dealt with, but taken together the problem loses its perspective. The solution is simple: a list. At least two weeks in advance of the conference, create a simple checklist – one line for every issue. For example, I don’t have a 'cables' tick box on my list; I have entry for the power cable, another for the VGA adaptor, and another for the HDMI adaptor, and so on. Before you go live, check the list. That way, when it’s time to perform, you can do so confident that you’ve not forgotten anything. It also frees up the parts of your brain you’d otherwise have wasted on trying to remember things. 6. Practice and rehearsal
This is so fundamental it probably shouldn't come last. It also needs the fewest words.
You will perform better if you go over your presentation and practise improvising using your keywords. Wrapping up
There’s a lot more you can do to conquer your nerves – ideas range from breathing techniques to standing in certain positions – but these are good starting points. So go change the world and edit people’s heads!
Want to know more?
Simon's a presentations expert and productivity guru. If you want to get in touch beforehand, here's what you need:
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Here's why new freelance editors and proofreaders need to commit to marketing, rather than relying on word of mouth to grow their businesses.
Commitment to active marketing
The first stage of an effective promotion plan is a commitment to active marketing.
If you’re simply waiting for a solution to present itself, you’re merely involved. And that’s a very different proposition from being committed. I love this quotation from Martina Navratilova:
Editorial freelancers, especially new starters, need to be the ham. Committing to marketing as soon as we set up our businesses ensures that we’ll never be client-reliant or, worse, lose our sole source of income.
Acquiring work: commitment versus involvement
Involved: being passive
Most experienced editorial freelancers take advantage of passively acquired work. I have a number of repeat clients who fill some of my schedule. If you’re highly visible, experienced, trusted and respected, this strategy could well be effective for you. For the new entrant to the field, though, it’s a non-starter. That’s because these opportunities are a consequence of active marketing. Passively acquired work might come through a variety of channels. Here, for simplicity, I’ve focused on three:
Committed: being active Active marketing is the work you do to generate these passive opportunities. Here, again, I’ve focused on three: A. Networking with colleagues and clients This includes networking on editing forums, at conferences, professional society meetings, social media platforms. This kind of marketing leads to an awareness of what your specialist skills are. If a colleague needs to direct a client or prospect to someone with skills or availability that he or she doesn’t have, you’ll be in the running (see 1, above). B. Cold-calling and writing letters/emails to target clients This includes contacting publishers, packagers, businesses and marketing agencies. This is direct marketing and if you do it extensively you can quickly build a solid list of similar client types. If the clients are satisfied with the work, they’ll rehire you, which leads to repeat work (see 2, above). C. Just creating online profiles in itself is not enough to make you discoverable. Action that maximizes the visibility of those profiles in the search engines is key. This is where content marketing comes to the fore – creating and distributing (via your online platforms) advice, knowledge, tools and resources that your colleagues and clients will find useful, valuable. Examples include blogs, booklets, video tutorials, checklists and cheat sheets. High-quality content offers solutions to problems and makes your online profiles more findable (see 3, above). In a nutshell, being active enables you to reap passive rewards later (if your office buddy will give you the space, that is). Why word of mouth (WOM) is often misunderstood
‘But my colleague said that all her work is via word of mouth.’
I don’t doubt it. But if she’s been running her business for 20 years and has a portfolio and client list as long as your arm, she’s not in the same position as the new entrant to the field. She’s benefiting from 1, 2 and 3 because she invested in A, B and C. New starters should indeed commit to WOM marketing. What they shouldn’t do is assume that it’s a passive approach that requires no effort. Nor will there be short-term results. Top-notch WOM marketing requires an intense level of commitment to action and an acceptance of slow-burn impact. Awareness and trust aren’t built overnight, especially in our field. Editorial freelancers aren’t selling a product that promises something that swathes of people have wanted forever – an anti-aging cream, a painless leg-waxing treatment, a broadband connection that never, ever buffers even if you live out in the sticks and there’s more chance of getting a wi-fi signal on Mars. Our services have to prove their worth. For the editorial business owner, WOM marketing is like creating a garden from scratch. If you’re proactive, it will take many months to knock it into shape. If you hold back, it’ll take years. If you’re passive, the garden will remain barren. WOM and colleagues There are a lot of us, and many have already developed niche networks of friends and colleagues to whom we refer work. When an editor or proofreader ends up on my radar, it’s because they’ve instilled trust in me.
Only then am I likely to add them to my referral network. WOM and clients As for client A telling client B about you, you’ll need a lot of mouths to share the good news if you want to have a full schedule! That’s not where you’ll be if you’re a new entrant to the field, not because you’re not an effective editor or proofreader but because you don’t yet have a large enough bank of clients. Effective WOM
Find out which networks (online and offline) your clients and colleagues recommend and join in the discussion. There’s nothing wrong with asking questions but be prepared to offer solutions too. Even new editorial freelancers have specialist skills and background experience that are relevant and valuable to the debate.
In 'Why word of mouth marketing is the most important social media', Kimberly A. Whitler, Assistant Professor at the University of Virginia's Darden School of Business, breaks down WOM marketing into the three Es:
Action first, passivity later
Clients can come via active and passive marketing strategies. It’s not a case of the right strategy but the right order.
If you’re a new starter, make active editorial business promotion a standard part of your working life, just like copyediting or proofreading, invoicing and updating your software. Assign space for it every week so that it becomes commonplace rather than a chore or, worse, something to be feared. Be active. Be committed. Be the ham! Once your business is established, you’ll be able to take advantage of the passive benefits that result from your effort. Just take care not to hand over the chill space to your Labrador! About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
This article is for editorial folk who currently choose to operate their businesses in isolation. There's nothing wrong with that at all if that's your bag, but I hope this will show you just some of the benefits of networking.
Why we need our colleagues
In ‘The rates debate’ and 'The highs and lows of editorial fees', I argued that colleagues shouldn’t be the primary determiners of the price we set or accept for editorial work.
They are, however, our go-tos for much else, and the professional editor and proofreader would be bonkers not to take the opportunity to exploit the myriad learning opportunities on offer from those with different skills, levels of experience, subject specialisms and environments! Rather than just writing a list, I thought it might be more interesting to give you a few examples of how some of my colleagues have helped me to develop my editorial business. The list isn’t exhaustive – it would be a book if it was – but it should give you a flavour of what’s on offer. Learning a new macro
I like to consider myself pretty strong on the editorial tech-tool front. And yet there was a time when I’d keep forgetting to switch Track Changes back on after I’d toggled it off. I needed a solution – some sort of visual or audio reminder.
A colleague alerted me that Paul Beverley had already tackled the problem with a macro: if you fancy trying it for yourself, you can read about how it works and how to install it at ‘How to never forget you’ve switched off Track Changes!’. Tightening up my marketing message
Some years ago, I'd been thinking about how I could better present my services so that they reflected the reality of what I spend most of my time doing – editing for indie authors.
Again, it was my professional network that came to the rescue.
Understanding another skill
Development editing isn't a service I offer. That doesn't mean I'm not interested in learning about it, though. I expanded my knowledge through colleagues who have experience in this macro level of editing.
Using Word more efficiently
Some years ago, two editorial colleagues wrote blogs that had a significant impact on how I use Word.
Using a gadget
One of my bugbears had been having to use hyphens for en dashes on my iPad and iPhone. It was colleagues who showed me that Apple has provided en and em dashes – I just hadn’t realized that if you hold down the hyphen button a small window opens and you can slide your finger to your preferred dash.
Discovering new tools
I love any editorial tool that can increase my productivity or enhance my professionalism. Colleagues alerted me to three particular favourites:
Maxing out an existing tool
I hadn’t been getting the best out of PerfectIt, even though I’m a long-time user. At another networking meeting, two colleagues showed me how to use the wildcard function more effectively.
This, combined with Jack Lyon’s Wildcard Cookbook for Microsoft Word, has been a real productivity enhancer. PerfectIt tends to handle wildcards a lot better than Word when Track Changes is switched on. Quoting mechanisms and publicizing rates
Over the years, colleagues have shared invaluable tips on pricing matters over the years, and although determining fees needs to be done using a deeper level of analysis than just following what friends are doing, there’s still a lot they can can bring to the table. Thanks in part to those conversations:
These two examples proved to be excellent reminders that testing is essential for the editorial freelancer who wants to learn whether a colleague’s way of doing things is appropriate for their own business. Making friends
My colleagues can do something a book or a course can’t. They can become friends. I’ve made so many edi-buddies that I can't even begin to list them all.
Not only have those people helped me how to be a better business owner, they've provided me with community, comfort and loads of laughs. Finding your people
There’s a ton of other stuff that colleagues can help with – I’ve only scratched the surface. If you’re reading this and you’re not connected, consider the benefits of changing the situation.
Ultimately, editorial freelancing is about running your own business, but there are plenty of people who’ll support you in its growth if you find a comfortable space in which to meet them! About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Working alone doesn't have to equate to isolation. Here are some tips and reassurance for editors and proofreaders who crave company or revel in solitude.
‘Solitude vivifies; isolation kills.’
Joseph Roux (nineteenth-century priest and poet)
Alone or isolated?
I worked in an office for nearly fifteen years before I set up my editorial business. I’d stop and chat with friends and colleagues by the water cooler or coffee machine. There was always someone to talk to.
Sometimes it was difficult to knuckle down to the job, so social was the environment. Now that I’m freelance, I work from home. I don’t have colleagues in the traditional sense. I’m working on my own from 10 am until 5 pm. Non-freelancers have frequently asked me how I 'deal with the isolation', and are often surprised when I reply, 'I don’t feel isolated.' The experience is certainly different from that of my prior office life and it requires a different mindset, but need it be isolating? Or was Roux onto something when he reminds us of the different ways of being alone? I asked some of my freelance editorial colleagues about how they manage a life of working from home. The following is a summary of our collective wisdom on how to generate your very own freelance water cooler when you need it, and bathe in the quietness when you don’t. The rewards and challenges of freelancing
Many of us become freelance because it suits our needs – moving house, moving country, redundancy, parenting, disability, and caring for dependents are just some of the reasons why people move their work base from the office to the home.
These changes can bring rewards but also challenges, forcing us to withdraw from the traditional and easily accessible friendship and professional groups that we’d previously relied on. Some of the contributors to this article highlighted how having young children has provided them with much-needed human contact at the school gates. But many of us still miss the office banter, the colleague element, what one editor referred to as: '... those people who do the same or similar jobs so you can swap and share ideas: the manager who always supports your ideas; the people who are there to confirm your decisions; the security of responsibilities understood; and the confidence of knowing how to do the job.' So here are some options for you to consider. Option 1: Explore online networking opportunities
Editorial association forums and social media platforms all come up as recommended spaces for connecting with like-minded colleagues in similar working environments ... a place to meet, chat, share ideas and let off steam.
Those with private messaging functions are especially popular. I particularly like WhatsApp and Slack for having conversations with a small group of trusted colleagues. Using online networking spaces means you don't ever have to feel like you’re working on our own even if there's no one else in the room. Option 2: Join a professional body and volunteer
Joining your national editorial society (eg the Chartered Institute of Editing and Proofreading) or editing-adjacent associations (eg the Society of Young Publishers) could be a critical first step in accessing colleagues who face the same professional and personal challenges as you, as well as providing excellent social and learning opportunities.
They may have committees, task forces, advisory/working groups, tutoring teams, a governing body or peer-to-peer mentoring programmes that you can participate in. Since 2020, I've been a member of the Chartered Institute of Editing and Proofreading's Council (its board), and that's meant I have daily access to other editors and our staff team. I don't just learn a ton from those people. I really like them too. They've become friends, and those relationships will stretch beyond my term of service. Perhaps you, too, could volunteer for similar roles. Of course, you needn’t limit yourself to publishing folk. Says one editor: 'I’m also looking into various local small business networking groups – there seem to be quite a few nearby that are specifically for women or mothers.' Another colleague is pursuing an MA, which gives her valuable face-to-face time with adults. Others have taken a series of part-time jobs, which give them additional income and social contact with other people. Option 3: Try face-to-face meetups
The other favoured resource for combating feelings of loneliness is the good old-fashioned face-to-face meetup. It requires a lot more effort than dipping into LinkedIn or Facebook, but the rewards can be huge.
Again, this doesn't have to be publishing-based. It could be a hobby-based group such as a local choir, knitting group or book club. If you do want contact with people who do what you do, find out if your national editorial society has a regional branch or chapter that's accessible to you. If it doesn't, consider setting one up. Option 4: Embrace café culture for company without complications
One colleague suggests a change of scenery: 'Scope out a decent coffee shop – having the odd couple of hours working in a different environment with people around makes you feel a lot less isolated and a lot more like you're just your own boss.'
Even if you’re not directly interacting with other people in a particular place, that time spent outside your usual work space is an effective refresher. You can even incorporate your java time with your work – the café may not be the best place in which to do editorial tasks that require deep concentration, but it could be a space where you can catch up on emails, invoicing or any of your more general house-keeping tasks. I have an editor friend who's a member of a silent book club that meets weekly in a café. What that means is that they don't discuss the books they're reading ... in fact, they don't discuss anything at all. They simply meet, sit together and read their own books. It's company without complications. If that sounds like your bag, search online to find out if there's anything like that in your area. Option 5: Experiment with co-working
Co-working is where freelancers meet up to work alongside each other. This could be in a dedicated co-working office space, something more informal like a cafe, or online via Zoom or Teams.
Doing that helps you feel less isolated because you can pick each other's brains, bounce ideas off one another and so on. Like the silent book club, you might all agree to keep the chitchat to a minimum and use the experience as an opportunity just to work in a less solitary environment. One colleague emphasizes how there's less pressure to promote yourself in these situations. Instead, it provides a bit more of an office atmosphere than a networking atmosphere. And this approach could just be the thing to get your creative juices going. Read these articles for insights into how other types of professionals have seen their businesses benefit as a result of being in a co-working space: Option 6: Ditch the humans and hang out with the small furries
Having a dog or cat in the home office really can combat feelings of isolation. No, they won’t be able to bounce business ideas around with you. Nor will they advise you on how to deal with the frustrated author of the book you’re editing, but pets still make wonderful companions.
My trusty Lab is always ready with a tail wag whenever I’m feeling pressured by a deadline or tackling a particularly demanding editing job. Plus, as one colleague remindes us, dog walkers are usually sociable, and you get to work on your health – which keeps you business-fit and body-fit. And as we all know, a bit of exercise is wonderful for mental wellbeing. Oh, and did I mention that pets keep your feet warm in winter, too? More options ...
If you don’t fancy any of the above, consider the following:
Is being alone such a bad thing?
Here's one editor's take on working alone: 'Why assume isolation is bad? I don't miss the office politics, formal clothing, jockeying for time off, etc. I'm not so much antisocial as one who enjoys quiet time alone, so freelancing at home is ideal in that regard.'
It's a good point. Freelancing from home does require a different mindset, but once you’re in it, it can be quite hard to revert to old ways of working. Here are two more perspectives from editors embracing the solitude:
In an illuminating article in the New York Times Sunday Review, 'The Rise of the New Groupthink', Susan Cain reminds us that being alone, and enjoying the attendant privacy and freedom from interruption, can be an intensely creative and rewarding experience. Many of us do need our water coolers, online or off, but we can also enjoy the solitude that our freelance homeworking status brings us. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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