A BLOG FOR EDITORS, PROOFREADERS AND WRITERS

This free booklet offers one example of how an editor or proofreader might approach testing which pricing model works best for their editing and proofreading business.

I discuss how and why I collect data, and the macro and micro insights I've gained that have helped me to grow my editorial income stream.

Hope you find it useful!

Click on the image above to download your copy.

There's a new podcast in town ... or there will be in January 2019! And it's all about editing and writing for indie authors.

What is it and who is it for?
Editing your book is essential, whether you do it yourself or work with a pro. This podcast will explore ways in which independent authors can make their publishing journeys easier.

If you want to learn how to improve your writing and self-editing with tips, tools and guidance, The Editing Podcast is for you.

Who are the hosts?
Denise Cowle and Louise Harnby are your hosts. We thought it would be fun to have two of us talking with each other rather than one of us talk at you. 

Plus, we have different but complementary specialist experience, which means we can cover more topics with authority.

​Why should you bother listening?
Because we really do know what we're talking about!

• We're experienced professional editors who've edited millions of words in fiction and non-fiction.
• We're Advanced Professional Members of the Society for Editors and Proofreaders.
• We're champions of independent publishing, although we both have extensive experience of working with mainstream publishers too.
• We provide training for fellow editors to help them improve their skills and grow their editorial businesses.

We have a lot in common! Having said that, our editing passions have gone in different directions. Denise is a non-fiction editor while Louise is a fiction specialist. That means we can ensure the episodes are balanced, and of value to indie authors regardless of subject or genre.

What we'll be talking about
We currently have over 50 topics lined up for discussion. Here's a selection that will give you a flavour of what's in the pipeline:

• The different levels of editing and the order of play
• The benefits of working with a professional editor
• How much pro editing costs, and how you can save money
• Self-editing tools
• Style manuals: what they are and how you should use them
• Common problems in beginner writing and how to solve them
• Sample edits: costs, benefits and evaluation
• Style sheets: what to include and how to use them
• Working with editors from other countries: benefits and challenges
• Zombie rules: why what you were taught at school isn’t necessarily best for your writing.
• Spelling variations
• Formatting guidance based on industry standards
• The editing you need if you're working with an agent
• Publishing lingo explained

When and how often will we air?
Season 1 of The Editing Podcast will air weekly from January 2019.

Each season will include 10 standalone episodes of complementary topics. That means you can listen to them when you want and in the order of your choosing. 

You'll be able to access the podcast via Apple Podcasts, Spotify, YouTube, our Libsyn podcast page, and both our websites.
​
Get in touch or subscribe
We’re really looking forward to making your writing and editing life easier! To stay in the loop, visit The Editing Podcast’s Facebook page and subscribe to our YouTube channel.

And if there's a problem you'd like us to solve on the podcast, get in touch.

If you're a first-time writer, working out which editorial services you need help with and what you can do yourself can be tricky. Is proofreading enough or do you need additional assistance? A key question is: How does your reader dance?

Here's a free PDF booklet that covers the key issues. In it, you'll find guidance on:

• The different levels of fiction editing: developmental editing, line editing, copyediting and proofreading
• Which services you might need: including thoughts from Silo series author Hugh Howey
• Your readers' perspective: are they free-wheelers or pedants, and how might this impact on reviews and sales?
• What's possible at proofreading stage: why your proofreader isn't a magician

Click on the image below to get your free copy.

I'm delighted to announce my new online course, Branding for Business Growth, due for release in late summer/early autumn 2018!

This course is especially for editors and proofreaders who want to differentiate themselves. You'll learn how to build an emotion-based brand identity that’s rich in the flavour of you, and compelling to the people you'd love to work with.
​
There's more information on the course page, and a special pre-launch offer. 

​The course will include:

• ​a recorded webinar 
• an ebook (circa 25K words)
• a branding kickstarter toolkit (ebook and templates)
• a branding journal (the course workbook)
• exclusive video tutorials from the Craft Your Editorial Fingerprint series
• ​quick-access links to related materials

You'll get lifetime access and live support via my Facebook group when you need it.

​Any questions, just ask me!

If you're suffering from yet another dry spell, this free webinar will help you get editing and proofreading work in the next few days and weeks.

I'll show you 10 steps you can take to move out of famine mode quickly.

​Forget theory. This is all about doing ... step-by-step guidance on short-term fixes that will give you peace of mind in the now, and head space to dig deeper in the future.
​

• AUDIENCE: Editors and proofreaders whose cupboards are bare
• ​PRICE: Free
• RUNNING TIME: 46 mins
• ACCESS: Available instantly – no login or sign-up required
• WHAT YOU GET: Webinar and PDF resource sheet
• CAPTIONS: Subtitles/closed captions are included

​
Click on the button below to access the video and the PDF.

PerfectIt is the premier consistency-checking software for many professional editors and proofreaders around the world. Developer Daniel Heuman and I sat down for a chat about what's new!

So Daniel was in New York, and I was in a tiny hamlet in Norfolk called Panxworth. Despite the 6,000 miles between us, the construction works going on outside his apartment, and the internet-connection problems in my somewhat rural neck of the woods, we managed to produce a video of our chinwag!

​For those of you who want to jump to specific parts of the conversation, here are the key themes and associated time stamps:

​▶️ Louise introduces Daniel Heuman, developer of PerfectIt: 00:00:00
▶️ What PerfectIt does and why it’s useful: 00:00:24
▶️ PerfectIt Cloud – the new solution for Mac users: 00:04:08
▶️ Windows users: Should we buy PerfectIt Cloud?: 00:06:12
▶️ The subscription model and a new lower price: 00:09:27
▶️ The benefits of up-to-date editing kit: Stability and support: 00:12:27
▶️ PerfectIt and Office 2016: 00:14:54
▶️ PerfectIt 4: Online, in the cloud, or both? 00:18:35
▶️ Features of PerfectIt 4: 00:20:24
▶️ Sign-off: 00:25:44

​And below is the conversation in full. Click on the Play button to begin listening. I've included subtitles in case you need to turn the sound off or can't understand our British accents!

There's a full transcript below. I've edited this for readability but essentially it's the words as they were spoken on the day.

THE VIDEO

​THE FULL TRANSCRIPT

Louise introduces Daniel Heuman
LH: My name is Louise Harnby and I’m a fiction editor, and today I’m going to be talking to the founder of Intelligent Editing and the developer of a piece of software beloved by many editors all over the world. And that’s PerfectIt.
 
Before Daniel and I start chatting about all the PerfectIt news, Daniel’s going to tell us a little bit about what PerfectIt does, because some of you might not know. So over to you Daniel!

What PerfectIt does and why it’s useful
DH: Thank you! It’s lovely to speak to you! This is very exciting. I don’t know that they’ve ever done a video interview like this before so thank you! OK. PerfectIt – for the people who have not come across it before (which is probably exactly who won’t be watching this, but hopefully they are!)
 
LH: You never know!
 
DH: You never know! Exactly! So PerfectIt is mostly consistency-checking software, and the key place where it comes in is that when you’re editing work it’s almost always under, you know, time pressure, and with a pressure to produce perfect work.
 
It’s ultimately dealing with the fact that everything is going to be on a budget. So given a limited time, what is the best document you can produce? And PerfectIt really fits in there. It saves time; it helps you edit faster.
 
And the way I was trying to explain it the other day was at the ACES conference. I have new way of explaining it ... I thought a little bit about what gets people into editing. And I think that without delving into the deep psychology of what makes anyone an editor, I think one of the things that does not drive people is the difference between tiny consistency mistakes.
 
So, yes, it’s fun sometimes when you spot ‘e-mail’ with a hyphen in one place and not in another but mostly that’s not what’s driving people. People get into editing because you care about words, you like reading, you care about communication, you want to explain stories, you want to help people connect better with readers.
 
And these little tiny mistakes that take so much time to spot are not the reason. They are a distraction. They’re significant because they jump out at readers but they’re not the reason why we get into this. And they’re certainly not the reason why one should be spending a lot of time on a document.
 
LH: And you’re so right because they take so long to deal with. I’ve had manuscripts before where, actually, particularly if an author’s got a budget, people like me are spending perhaps hours and hours and hours when we’re using just our eyes, dealing with these tiny inconsistencies, which as you say are red flags.
 
And, yet, actually what we want to do is immerse ourselves in the narrative in front of us and to make it better. And the more time we can spend focusing on the flow of the words ... because every time you come across a hyphen that’s inconsistent, or inconsistent capitalization, as an editor, you’re dragged out of the flow of the work as well.
 
And so being able to do that, to save time by having a piece of software like PerfectIt to do that for you is just wonderful. And you still get the pleasure of knowing that you’re bringing this consistency to the work. But it is back-breaking doing that manually. I think that’s the thing that a lot of editors feel. It’s just back-breaking work.
 
And I would rather an author paid me to do other things with my time. I want them to feel that I’m going to do those things but I don’t want to have to spend more time than necessary doing it, and that’s where your software comes in.
 
DH: Absolutely, and we put on the homepage something like: you spend the time on what matters most, which is your words and their meaning.
 
LH: Yeah, yeah, that’s exactly it.

PerfectIt Cloud – the solution for Mac user
LH: So, Daniel, in the past, PerfectIt’s only been available to Windows users.
 
Well, that’s not quite true. I do have Mac-using friends who have been able to use PerfectIt but they have to be running something like Parallels, or I think it’s called VM Fusion Ware or something. Or they’ve had to go buy a cheap Windows laptop.
 
So I suppose that’s the thing that everybody’s talking about. Like, what’s new for Mac users?
 
DH: That is the news! So first off, it’s been touching and amazing, the extent to which people have been going to use PerfectIt.
 
Like you say, they’ve been installing Parallels. People have been buying computers to run this program, which is touching. I know that buying another computer doesn’t cost as much as it used to but, still. But for Mac users who hate Windows and just run it for one program has been phenomenal to see. But yes, no longer!
 
So we are producing PerfectIt Cloud, which is ... you’re going to have to forgive ... in the background you can probably hear the construction noise! I’ll do my best to speak over it. So we’re producing PerfectIt Cloud, which is an Office Store add-in.
 
And the great thing about Office Store add-ins is that they are compatible in any version of Office 2016. So if you are on a Mac, if you’re on a PC, if you’re on an iPad, even in Word Online (which I don’t know that anyone actually uses), no matter which version you’re on, you see the same add-in. So the functionality is exactly the same across.
 
And we’ve been developing this for ... I mean, you know, the amount of times people have heard me saying, ‘A Mac version is coming soon. It’s just a few months. It’s just a few months.’
 
But, no, as of 26 June we will have PerfectIt Cloud, which brings compatibility to Mac and to iPad for the very first time. So it’s really exciting!

Windows users: Should we buy PerfectIt Cloud?
LH: So what about Windows users? I have PerfectIt 3. I’ve had all the versions since it first launched. I work on a PC. Should I rush out and get PerfectIt Cloud?
 
DH: In a word, no. So the introduction of PerfectIt Cloud is primarily for Mac and iPad users at this stage. So if you’re using PerfectIt 3, if you’ve got a Windows PC, that’s still going to be the best version that we offer.
 
And it’s going to be strange because PerfectIt Cloud looks so much better! The interface is even easier than it was before. It’s a beautiful product, but underneath there are a few things that PerfectIt 3 can do that we haven’t been able to do for Cloud yet.
 
So the most important one of those is customization of styles. That’s still going to take some time to bring into PerfectIt Cloud. The ability to check footnotes – we’re going to be dependent on Microsoft for them to make some changes before we can bring that in.
 
So if you have PerfectIt 3, if you have a PC, in most cases the thing to do is not to rush out, and not to buy this at least until we produce a new version for the PC, which will be PerfectIt 4.
 
There’s one exception, which is, you know, all those people who ... the ones, the amazing wonderful users that you’ve described who have gone and bought VMware, and Parallels, and even separate computers.
 
A bunch of those users are really frustrated with having to turn them on every time, and going through Windows updates, which take forever. And just to get PerfectIt up and running takes two hours. And it’s saving them a lot of time so they do it, but if you’re one of those people who has both a PC and a Mac, in those cases, yes, you would.
 
Not all the options are included but it’s close enough that you may not want to be uploading and updating your Windows computer each time just to run PerfectIt.
 
LH: Yeah, and I suppose also for people perhaps who are, I don’t know ... I was thinking about the increasing number of editors who are location-independent. And, actually, maybe they don’t always have the latest ... you know, they’re don't want to be worried if their computers break ... and the idea perhaps of just knowing that it doesn’t matter which PC you’re on, or which Mac you’re on, that if you’ve got something, a machine in front of you, you can do your work and you can access the core functionality of PerfectIt wherever you are.
 
And that’s an important thing, I guess. I mean, I’m not location- independent. I am very much dependent! I’m in Norfolk with a rubbish broadband speed and so I’m kind of quite keen to keep things offline and local when I can. But knowing that I’ve got the choice – that will be a big issue for me.

The subscription model and a new lower price
LH: Can we talk about price now? Because in the past, once every two or three years, you bring out a new version, and I’ve paid you, I don’t know, $90? I can’t remember the price off the top of my head. So that’s the way it’s worked. But you’re doing things slightly differently now, aren’t you?
 
DH: Yes. So we are switching to a subscription ... sort of a subscription.
 
And I know the minute I use that word people are turning off this video, don’t want to know anything more. because everyone is sick to death of subscriptions with, you know, Netflix and Amazon, and, oh my God, you can get a subscription for your vegetable delivery now, which is bonkers!
 
But I think what we’re doing is really different to that. We switched to a once-a-year payment. At this point at least, there’s no handover-your-credit- card or anything like that. You pay each year if you want to continue using it.
 
And switching to that kind of model means we can drop the price by a lot. So instead of being a $99 one-off purchase, we’ve made it $70 per year.
 
And on top of that, we’ve really dropped the price for, you know, independent editors. So we’ve worked with as many of the editing societies around the world as we can – certainly all the big ones – to have a kind of a discount.
 
And that’s going to be an additional 30%, so the price is going to be just $49 per year for independent editors who are, you know, a member of any of the big editing societies anywhere in the world.
 
So subscriptions mean we can get down the price down a lot, and they mean we can create a really compelling, simple offer, which is that you will buy PerfectIt and then you will get any version you want on any number of devices you want, and not pay a separate charge, which I think is really what bothers a lot of people.
 
So you buy PerfectIt and you can install the PC version on your PC, you can install the Cloud version on your iPad. You only pay once for that and you don’t get stuck with that additional charge you described, which was the upgrade charge.
 
So, yes, we used to have a one-off price but people liked this product and much more than 60% of people paid the upgrade price anyway. So, really, there was a hidden recurring element.
 
And by switching to ... we can call it a subscription, we’ve made everything included in that price very transparent. And you get all the upgrades, you get all the updates, you get support. So I think the way we’ve switched the pricing is really gonna be attractive, and especially attractive for independent editors.
 
The benefits of up-to-date editing kit: Stability and support
LH: I think it’s wonderful because, I mean, I’m a big fan of the subscription model, even with things like Microsoft Office, because I’m a professional, I want the latest software, and I want it to work in an environment that’s stable as well. And so I like having the most up-to-date version of Word.
 
I had a situation a few years back when I first plonked a download of Windows 10 on my Windows 8, or Windows 7 computer or something, and I was trying to get PerfectIt to operate in an environment basically with two operating systems, and guess what? It wasn’t happy.
 
And so at that point ... because PerfectIt was key to my editorial day-to-day working, it was one of the things that triggered me to actually think, ‘You know what? You need to get yourself an up-to-date computer with the latest operating system already installed, so it's not fighting with anything else.’
 
And to know now that I’m always going to be running the latest edition of Word on the latest operating system and that the plugins that fit into that software, like PerfectIt, are going to be the latest editions too ... for me, that’s just one less worry.
 
It means that I can get on doing the business of editing rather than thinking, ‘I want to be able to do X, Y or Z but I can’t because it’s broken.’
 
And so I’m really excited about this because, as you say, it’s upfront, it’s clear, everybody knows what they’re gonna pay and what they’re getting.
 
And you mentioned something there as well, and that was the issue of support. Because in days past, it was the case that if you decided to stick with an older version of PerfectIt you wouldn’t have access to you.
 
And sometimes, you know when you get stuck on things, you just want to be able to ask the person who actually really knows the answer. It’s not guesswork. And knowing that that’s always going to be ... you get the full package. So I’m really excited about it. I think it’s a really good deal.
 
I think the price is a steal as well. And for those of us who are members of professional societies, what a perk of membership to know that you can get one of your core pieces of editing software at such a huge discount! Thank you!
 
DH: Yeah, those societies and the editors within them are absolutely the reason why we are where we are today. That’s been the core of this business so now I absolutely think that it’s important to support them.
 
PerfectIt and Office 2016
DH: And I agree with you completely about thinking about Office and updates that way.
 
I know that a lot of editors have been disappointed when we’ve said that PerfectIt Cloud is only gonna work in Office 2016. And they said, ‘Well, I’m never moving to Office 2016 because I’ve heard all these terrible things about it.’
 
And I just wonder every time I hear that ... I think, I know those stories are true – when you have a piece of software like Microsoft that is installed everywhere then you always are going to have some things that don’t work and that are gonna get on Facebook. And they’re gonna look to seek help. And they’re always going to be the ones who have some kind of problem.
 
You never get someone who installs the latest version of Microsoft and says, ‘Yep, that worked’ and tells all their friends.
 
So our perception of these versions has been really sort of distorted by, I think, the relatively lower number of people who have had problems in perspective to the total, in relation to total.
 
And as you say, when you actually look at the package and what Microsoft are offering, I think it’s really good. And I’m fortunate that I’ve never had any sort of problems with it. I’ve used Word on the iPad, I use Word on the PC. I think they’ve done a really good job of making those two similar and in line. In the past, there’s been big differences between those things.
 
You know, I was able to switch as a long-time PC-user to the iPad version. I had no trouble doing that. And they do it at a low monthly price. And what I’ve sort of been saying to anyone who’s asked about it is something like, yes, there are some users who’ve had problems, and there have doubtless been lots of glitches, and there always are with endless Microsoft updates, but what about trying it for one month? They offer a monthly price. And see if it works for you.
 
And you’ve got your old version and you can always go back, but those old versions, they’re at this point ... you know, Microsoft has stopped supporting Office 2011 anyway, so we’re out of that period really.
 
Yeah, I think I think as you say, the package they’re offering is very good, and especially the kind of value in the monthly offer. It makes a lot of sense.
 
LH: Yeah, and I think the other thing to mention is that, you know, I think sometimes there are people in, well, not just the editing community but all sorts of communities who are trying to run say 2016, or with all the updates, 2018 software but on decade-old computers.
 
And that’s a bit like taking your mobile phone to medieval times and complaining you haven’t got signal!
 
You know, we need as editors to be, I think, working with the latest equipment. Within a budget, of course. Most of us aren’t rich. But I always think, get the best RAM you can ... get the best processor you can for your money.
 
And then things like PerfectIt, within Word, within Microsoft Office, will work the best for you.
 
DH: Absolutely! And we all make these mistakes! I’ve been screaming at my printer all morning and pressing over and over again, and wasting so much time trying to get this printer to work.
 
And I know the reason why it doesn’t work – it’s because it’s really old, and would cost next to nothing to replace.
 
But, you know, we’re old enough to remember that these things used to be very expensive, and it’s so difficult to get rid of them. But, actually, you know, when running a business, to spend my morning yelling at a printer is probably not the best use of my time!
 
PerfectIt 4: Online, in the cloud, or both?
LH: So can I just check something with you? Can we talk then about the next version of PerfectIt that will be also usable locally?
 
So we’ve got PerfectIt Cloud but there’ll come a point I’m assuming when there’ll be the next version, like PerfectIt 4 that will be in the cloud. Will that also be something that someone like me who’s got a little bit of an iffy broadband connection can, if they want to, download to their computer?
 
DH: Oh, so we are NOT moving to the cloud in any way, shape or form. We’re doing very much that kind of approach that Microsoft has gone for where you pay once and you have different parallel versions for different devices.
 
We are not switching to the cloud. There will always be a local version. As I said earlier, it’s still kind of the best version for a number of reasons.
 
And so at the moment, if you get a subscription, you will get PerfectIt 3 and PerfectIt Cloud, and as of the end of this year you’ll get PerfectIt 4 and PerfectIt Cloud.
 
And we’ll keep the two in parallel so that they’re running off ultimately the same code, so that you’ll get the update for PerfectIt 4 locally, and at the same time, almost at the same time, we will update PerfectIt Cloud automatically, and they’ll offer the same checking.
 
LH: OK, great, that’s good. I just wanted to be sure of that because ... just because my broadband is a bit of a nightmare here!
 
DH: No, no, I don’t think we communicated that properly in our in our literature so it’s a really good question to ask. I’m sure a lot of people will be concerned about that.
 
Features of PerfectIt 4
LH: So can we talk about ... do you have any specific plans for what will be new with PerfectIt 4 yet, or can we suggest things?
 
DH: Well, obviously, I’m going to dodge that question because the trouble with that question is that if I start saying we’ve got plans for PerfectIt 4, that we’re working on ... I suspect if I start saying the things that I’m working on, the disappointment that will follow when we say we’ve failed ... [laughing].
 
But I like the idea of suggestions. As I said, this business has very much been built by support from editors, and feedback from editors.
 
So if we wind the clock like all the way back to the first time that I was at SfEP conference, I remember someone mentioning en dashes and and why they could be in the hyphenation-consistency check.
 
And let’s let’s be honest, at that point, which was been ten years ago or so, I didn’t understand the significance of that. Why would we need to be looking for en dashes and hyphenation? What’s the point?
 
And actually it was that feedback which we then took on. And it got quite a few people explaining and saying, well, actually, this is the error that we’re looking for. This is what comes up. It’s really difficult to spot because of this. Is there anything you can do?
 
And I think it was in PerfectIt 2 but certainly in PerfectIt 3. And we’ve built in an en dash versus spaced-hyphen consistency check.
 
LH: And em dashes too.
 
DH: Yes, the way we do the checking for those is a little different but, yeah, it ultimately came down to the same reason, which is editors suggesting that these were the things that they wanted to see.
 
And I’d love to get those suggestions for PerfectIt 4. So, particularly ...
 
LH: I’m thinking legal and medical might be obvious.
 
DH: Yes, legal. I’ve got a long, long list of changes that we want to make for legal, but medical, pharmaceutical scientific ... I know we have a lot of editors working in those kinds of fields and I feel like we haven’t done as much for them as we should and could.
 
So I’d love to get suggestions from every kind of editor, but especially those ones would be really good, because we need to do more in that area.
 
LH: And speaking as a fiction editor as well, I think there are certain functions I’m using ... the possibilities are there but there are certainly things I could think of in terms of the similar-word-find function that maybe even we could put forward some suggestions that might help you to push that stuff further forward, and help us to adapt the style sheets more so that we could get more benefits in that field too.
 
And I’ll certainly be thinking if there’s anything else from a fiction point of view that I can push your way.
 
DH: Definitely. You know, we always get a nonfiction writer saying, ‘Can this be used for nonfiction too?’ We get fiction writers saying, ‘Can it be used for fiction?’ And we hadn’t been quite communicated clear enough that, yes, it’s for all of those things.
 
And, yeah, the similar-words function. Lots of people are using that for character names. Can we improve that? Can we make it clearer that that’s a possibility for character names? Can we look and see if there are ways of improving that?
 
And already you have got me talking about features that I swore just two seconds ago I wouldn’t get into! Some of those things people are really gonna be telling me, ‘But you promised, but you promised!’
 
I will avoid saying more about that but I am excited by that kind of change and by doing things that are specific to different kinds of editing, for sure.
 
LH: I think from my point of view as an editor, and for people who are watching this who haven’t tried PerfectIt yet, knowing that you’re responsive to ways in which you can develop the software is a really important thing to emphasize, because the various iterations that I’ve used over the years have just got better and better. And that means I’ve saved more and more time.

And so I want to say to people that when you invest in this software you are working with a company and a business owner who will listen to you, and that's a good thing.
 
DH: Thank you! And my guess is that at this point in the video, between the dogs barking outside and the helicopter going overhead, anyone who is completely new to this software will probably have stopped watching 20 minutes ago!
 
But, yes, anyone with us longer hopefully has experienced that we are ... it’s actually the other way around. It’s editors who’ve helped build this and made all this stuff possible, so we are absolutely listening, and will continue to iterate and improve.
 
If we improve the product for actual editors, everyone else who uses the software benefits. And, you know, we really have the best people in the world advising us, so I think it’s fantastic.

Sign-off
LH: Daniel, thanks very much! That’s been really, really useful. So I’m excited about ... not just the cloud but also PerfectIt 4 coming out. I’m excited that I’m going to be able to use it on multiple platforms, in different spaces. I’m excited that I’m going to be able to get it cheaper than I did last year!
 
So thanks for taking the time to talk to me. It’s been brilliant.
 
DH: Thank you! And thank you for all the support through all the years.
 
The excitement and enthusiasm is so encouraging after we’ve been telling people, you know, soon, soon just another month, just another couple of months. Now that it’s done, now this here, it’s fantastic! Thank you.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Have proofreading symbols passed their use-by date? It’s a controversial question, but one that we definitely need to ponder. So, as an unconventional ‘celebration’ of 30 years in publishing, Melanie Thompson is setting out to answer this question – and she needs your help ...

Over to Melanie ...

​A few months ago a colleague asked me whether (UK-based) clients want proofreaders to use British Standard proofreading symbols or whether they prefer mark-up using Acrobat tools on PDFs.

‘Good question,’ I replied. ‘I hope to be able to answer that later this year.’ That probably wasn’t the answer they were expecting.
 
The widely different expectations of clients who ask for ‘proofreading’ has been niggling at the back of my mind for a couple of years.

What's changed in three decades
I have been a practising proofreader for 30 years, I’ve managed teams of editors and proofreaders, and I’ve been a tutor for newcomers to our industry. Yet I still learn something every time I proofread for a new client.
 
It’s several years since I was last asked to use BS symbols for a ‘live’ project,* but I use them a lot on rough draft print-outs – because they’re so concise and … well, let’s face it, to some extent those symbols are like a secret language that only we ‘professionals’ know. I like to keep my hand in.
 
But proofreading is now a global business activity, and ‘proofreading symbols’ differ around the world – which kind of defeats their original objective.

And now so many of us work on Word files or PDFs (or slides, or banner ads, or websites or … ) and there are other ways of doing things.
 
This all makes daily work for a freelance proofreader a bit more complicated (or interesting (if challenges float your boat). We might be working for a local business one day and an author in the opposite hemisphere the next.

It’s rare, but not unheard of, to receive huge packets of page proofs through the mail and to have to rattle around in the desk drawer to find your long-lost favourite red pen. Usually, however, things tend to arrive by email or through an ftp site or a shared Dropbox folder.

Digital workflows

The ‘digital workflow’ is something we’re now all part of, whether we realize it or not. But clients are at different stages in their adoption (or not) of the latest tools and techniques, and that leaves us proofreaders in an interesting position.

We need to be able to adapt our working practices to suit different clients; ideally, seamlessly. For that, we need to understand what the current processes are, and what clients are planning for the future.
 
And that’s where I need your help.

​A new research project: proofreading2020
I’ve launched a research project, proofreading2020, to investigate proofreading now and where it might be heading.

The study begins with a survey, asking detailed questions about proofreading habits and preferences. Once the results are in, I’ll be conducting follow-up research for case studies and, early in 2019, publishing the results in book form.
 
​You can find out more and complete the survey at proofreading2020. It's open now, and closes on 30 June 2018.
 
Almost 200 proofreaders, project managers and publishers have already completed the survey. Several have contacted me to say it was really useful CPD, because it made them think about how they work and why they do things. So I hope you’ll be willing to set aside a tea-break to fill it in.
 
It takes about 20 minutes to complete, but it’s easy to skip questions that aren’t relevant to you.

​There are only a handful of questions (at the beginning and end) that are compulsory (just the usual demographics and privacy permissions). Beyond that, the sections cover the following:
​

• Proofreader training and qualifications
• Taking/making bookings and negotiating fees
• The materials people proofread (end products and the formats they’re created in)
• Marking up techniques (on paper, on screen, software tools etc.)
• Collating proofs and dealing with queries
• A bit of fun (yes, really!) and sci-fi proofreading

​* If a client does ask for BS symbols, I recommend downloading Louise’s free stamps for use on PDFs – they will save you a lot of time and help you deliver a neat and clear proof.

Melanie Thompson is an Advanced Professional Member of SfEP and an SfEP tutor.

Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Editors on the Blog is a monthly column curating some of the best posts from the editing community – articles written by editors and proofreaders for colleagues and clients alike.

My thanks to this month's contributors!

THE BUSINESS OF EDITING

• 5-minute branding by John Espirian, published on Espirian. John writes: ‘This quick exercise will help you sharpen your written voice and add consistency to all your communications.’
• Blog republishing strategy by John Espirian, published on Espirian. John writes: ‘Bloggers can stop worrying about duplicate content penalties from Google. With this advice, they can press ahead with republishing their articles on LinkedIn and Medium, helping their content reach a wider audience.’
• Overcoming marketing paralysis: How to turn overwhelm into action by Louise Harnby on The Parlour. Louise writes: 'Business promotion can feel overwhelming, and that can lead to inaction. This article includes some tips to help you move forward ... gently.'
• PayPal fees and your right to profits by Erin Brenner, published on Copyediting. Erin writes: 'The world does not owe you a profitable business. If you run a business to make money, the general rule is that you have to spend money first.'
• The editorial rates debate – why I don’t charge by the hour by Jen Toyne, published on the Jet Proofreading blog. Jen writes: ‘This article is about how charging by the hour does not work for me and how I made peace with my simple approach to pricing based on number of words.’ 
• Things I have learned in a year of running a business by Renee Moodie, published on the Safe Hands Web & Content Services blog. Renee writes: 'There’s been much to learn in a year of freelancing, starting with understanding that I am not in fact a freelancer but rather the owner of a business.'
• What to do when someone asks, 'What’s your rate?' by Molly McCowan, published on Copyediting. Molly writes: 'Do what you can to avoid offering up your hourly rate. Instead, gracefully “pivot” by answering with a question that will give you more insight into the project.'

​
​CLIENT FOCUS​

• Q&A on what to expect from a thesis proofreading service by Kate Haigh, published on the Kateproof blog. Kate writes: 'I work with a lot of postgraduate students and often get asked the same or similar questions. This blog post is a collation of the most common questions, with answers, which will hopefully help prospective clients but also other editors and proofreaders looking to work with this client set.'
• Proofreading tip – checking for mistyped words by Laura Ripper and Helen Stevens, published on the School Proof blog. ‘Teachers often have to proofread their own or their colleagues' student reports. We share some tips to help teachers and other professionals spot commonly mistyped words that Spellcheck won't flag up.’
• What is your writing worth to you? by Lisa Poisso, published on Clarity. Lisa writes, ‘Where’s the rule that says novelists have to accelerate from zero to pro with no professional guidance – and at no cost? Help clients put their editing costs into perspective.'
• Why ‘suddenly’ can spoil your crime fiction: Advice for new writers by Louise Harnby, published on The Parlour. Louise writes: ‘I discuss the negative impact that just one word can have on narrative tension: Suddenly. I don't suggest that writers should eradicate it, but rather use it judiciously and with intention.'

EDITING IN PRACTICE

• How to close an editorial project effectively by Hazel Bird, published on The Wordstitch Blog. Hazel writes: ‘Adding that last missing comma is not the end of a project. The way you close an editorial project has a huge bearing on how clients remember you (and thus whether your name pops into their head for future work) and how you manage your business’s development.’​
• Silent Changes by Eleanor Abraham, published on  eleanorabraham.com. Eleanor writes: ‘Word’s Track Changes is an amazing function letting you see all the revisions your editor is suggesting. But is it really necessary to see all the changes they make to your Word file?’
• Sorting text in Microsoft Word by Denise Foster, published on Fostered Creativity. Denise writes: ‘I recently participated in a Facebook discussion on this topic and then decided to write a blog post about it. I hope this is helpful to other writers and editors!’
• The editing and revision process for self-publishers by Lisa Poisso, published on Clarity. In this newly revised article, Lisa writes, ‘Add more opportunities for feedback, more opportunities to check specific elements, and more opportunities for a fresh look.’

​FREELANCE LIFE

• Success in freelancing: Is it luck or hard work? by Denise Foster, published on Fostered Creativity. Denise writes: ‘I’ve always been interested in this topic—what factors determine success? (And what defines “success” anyway?) I decided to share my thoughts about how this specifically relates to freelancing.’
• The Perfectpreneur by Sara Donaldson, published on Northern Editorial. Sara writes: ‘If you find you’re constantly comparing yourself to the Perfectpreneur – the businessperson who has it all – here’s an exercise that can help you come back down to earth.’ 
• This proofreader’s approach to GDPR by Kate Haigh, published on the Kateproof blog. Kate writes: 'With the new General Data Protection Regulations (GDPR) coming into force in May 2018, affecting anyone working with clients in the EU, I thought it would be useful for clients and colleagues to see how I have approached compliance. This blog post has more detail than my new privacy policy, giving detailed reasons about why I store what data and where.'
• Unimposter-able me by Kia Thomas, published on Kia Thomas Editing. Kia writes: 'Imposter syndrome comes for most of us at some point in our careers. But lately I’ve been learning how to fight it, with the help of some classic 90s pop.'

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

​This tutorial shows you a fast and free method to turn your video’s subtitles/closed captions into text that can be repurposed for blog posts and DIY transcripts.

There are 2 reasons you might want to do this:

1. To generate keyword juice for SEO purposes
2. To respect customer/client preferences

Using the subtitles files in your existing videos means you can create content in a written format without starting from scratch.

That saves you precious time, allowing you to focus your attention on creating words (if you’re an author) and amending them (if you’re a proofreader or editor).

I’ll look at those reasons in more detail below. First, here’s the video walk-through. The written instructions are underneath.

​Instructions

• Go to your YouTube channel and select CREATOR STUDIO, then click on your chosen video.
• Click on Subtitles/CC.
• Under the blue ADD NEW SUBTITLES OR CC button, click on the grey language button. This will open up your subtitles stream.
• Click on ACTIONS.
• Select .srt.
• Now go to your computer’s DOWNLOADS folder.
• Locate the .srt file and rename it with a .doc extension (e.g. captions.srt becomes captions.doc).
• Now double-click on the newly created Word doc.

Now you’re ready to edit the text. And you will need to edit it! As I’m sure you’re aware, we don’t speak like we write. I’m always shocked by how much I mumble, how fast I speak, and how non-standard my spoken grammar is when I see my speech in written form!

Furthermore, while even the auto-subtitles generated by YouTube are rather amazing given that they’re free, it’s no surprise that a lot can go wrong.

Still, the basics are there so we’re not starting with a blank page – the core written material is ready and waiting for us.

If you’re creating a transcript, you might decide to leave in some of the time stamps. This is useful if you want to enable people to return to the video and access key themes, or if there’s more than one speaker.

If you’re creating a blog post, here’s how to remove the extraneous information ...

Removing the junk
So this is a partial screenshot of a subtitles file:

Let’s get rid of the time stamps first.

• Open Word’s FIND/REPLACE tool (ctrl-h on a PC)
• Copy and paste the following string into the FIND WHAT field: ^#^#:^#^#:^#^#,^#^#^# --> ^#^#:^#^#:^#^#,^#^#^#
• Leave the REPLACE WITH field empty
• Click on the REPLACE ALL button

​Now your subtitles file looks like this:

Now let’s get rid of those stranded numbers above the main text, again using Word’s FIND/REPLACE tool.

• Place the following string into the FIND WHAT field: ^#^p
• Leave the REPLACE WITH field empty
• Click on the REPLACE ALL button

If your video is long, you’ll have double-digit numbers too. In that case, click the REPLACE ALL button again. If you have triple-digit numbers, you’ll need to repeat it once more!
​
Now your subtitles file looks like this:

​Now we can remove the extraneous paragraph returns. Again, we’re using Word’s FIND/REPLACE tool.

• Place the following string into the FIND WHAT field: ^p^p
• In the REPLACE WITH field, type a space
• Click on the REPLACE ALL button
• Now place the following string into the FIND WHAT field: ^p
• Leave the space in the REPLACE WITH field
• Click on the REPLACE ALL button
• To tidy up any final double spaces, type two spaces in the FIND WHAT field
• Leave the space in the REPLACE WITH field
• Click on the REPLACE ALL button
• If there are a few double spaces remaining, click REPLACE ALL again

​Now your subtitles file looks like this:

Now you can tidy up your text, and copy and paste it into the text editor on your website. There, you can introduce paragraphs, bullet points, headings and any supporting imagery for your blog article.

Now let’s return to why we might decide to do this.

Generating keyword juice for SEO purposes
Video is compelling. It allows our audience to see our faces and hear our voices. That intimacy can be compelling, and it’s a fast-track to building trust. That’s important for authors seeking to build a readership, and editors wanting to attract clients who need editing help.

However, there are no keywords in a video. Yes, YouTube is a search engine in its own right, but it’s not the first point of search for every member of our audience.

​By repurposing video as blog content, we’re increasing our chances of being found in the likes of Google and Bing too.

Being findable on multiple platforms makes sense in an online world that’s becoming noisier by the minute.

Respecting customer/client preferences
Not everyone wants to watch video, and even if they do, it’s not always the most convenient option. Imagine the following scenarios:

Our reader’s broadband speed is slow
A blog post will load faster than a video on those occasions that the internet seems to be creaking at the seams.

If we’ve solved a reader’s problem in our videos, but they can’t play those videos, they could become frustrated and go elsewhere. If we’ve offered a written alternative, we’re more likely to keep them on our websites.

Video is difficult to scan
Written content is easy to scan and digest quickly. That makes it attractive to busy people. If our visitors can’t work out whether we’ve solved their problem without watching a video in its entirety, we might lose them.

When we provide written content as well, we can quickly show them what’s on offer with headings and bullet points. Our readers can scan this information and decide whether to dig deeper.

Blog posts can be printed
Some people still like to print useful content so that they’re not reliant on digital means to access it. A video can’t be printed; a blog post can. Again, it’s about respecting what’s convenient for our readers, rather than focusing on our own preferences.

Other options
What I’ve offered here is a DIY solution for authors and editors who need to keep an eye on the purse strings when they're repurposing vlog content.

It’s the method I use when I’m starting with a video rather than a blog post. Plus, I rather enjoy the process. However, it’s not everyone’s bag.

If you have the budget, you can commission a professional transcriptionist or content repurposer. They’ll have the tools and expertise to create top-quality written content from video that fits your brand and voice.

Summing up
Editors and authors who are creating valuable content to make their books and editorial services visible can repurpose it in multiple ways. No one method trumps another – audio, video and words all have their place.

However, our audiences will have different preferences. What’s convenient today might not work tomorrow. Repurposing content allows us to respect those preferences.

The trick is to find shortcuts to that repurposing so that we’re not starting from scratch each time. This is one of them.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Here's a treat for PerfectIt users ... a custom style sheet that includes the find-and-replace strings in my free ebook, The Author's Proofreading Companion.

If the Companion has made your life easier, you'll love what my colleague Andrea Kay of Yours Truleigh Editing has done. Yep, she's upped the efficiency game for all of us by creating a custom style sheet that can be imported into PerfectIt.

Thank you so much, Andrea!

For those unfamiliar with either the software or the booklet, I've provided an overview of both, and the benefits of importing the style sheet.

Andrea's also created a style sheet for the Student Proofreading Toolkit. Double thanks!

Below that are the installation instructions and the ready-to-download files for the Companion and the Toolkit.

​How to import your style sheet
Importing the style sheet is a doddle, I promise, Follow the instructions and screenshots below. If PerfectIt is already installed, the process will take no longer than 20 seconds.

1. Unfortunately, I can't upload the files to Weebly, so I'm using my bot Lulu and delivering via Messenger.

​Click on the green button below. That will take you to a post on my Facebook page. There you can comment with the word 'perfect' and Lulu will send you the files. Click on each one to download to your device.

2. Once you've installed PerfectIt, open the Word document you want to check.
3. Launch PerfectIt.
​4. Click on Manage Styles.

5. Click on the Import button.

6. Select the pft from your device and click OK.

7. Click OK in the Manage Styles window.

8. Select the your pft from the Current Style drop-down box.

9. To run PerfectIt on your current Word document using the custom style sheet, press Start.

If you're not a PerfectIt user ...
If you're not yet ready to invest in PerfectIt but still want access to the find-and-replace strings and other tools in the ebooks, click on the images below. They'll take you to the download pages.

​They're free and you won't have to hand over any personal data to access it. Enjoy!

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Editors on the Blog is a monthly column curating some of the posts from the editing community – articles written by editors and proofreaders for colleagues and clients alike.

There are some absolute corkers in this inaugural edition. Thank you so much for contributing!

THE BUSINESS OF EDITING

• ‘How do I get freelance copywriting work?’ by John Espirian, published on Espirian. John writes: ‘One of the commonest questions I’m asked is: How do I get copywriting work? I hope it helps a few of you newbie copywriters to get started.'
• ‘How to get fiction editing and proofreading work’ by Louise Harnby, published on The Proofreader's Parlour. Louise writes: ‘This post looks at how specialization, training, directory advertising, content marketing, events and festivals, workshops and webinars, and reading fiction help to get us fiction editing work.'

​CLIENT FOCUS​

• '6 ways to improve your big-picture revision skills' by Lisa Poisso, published on JamiGold.com. Lisa writes: ‘Building your story sensibilities will give you the confidence to begin your revisions where they count: at the story level.’
• ‘Document content formats: pros and cons’ by John Espirian, published on Espirian. John writes: ‘My clients are often unsure about which document format they should use for their content. In this article, I look at the pros and cons of HTML, PDF, Word and PowerPoint.’
• 'How to cope when your manuscript query is rejected' by Lisa Poisso, published on lisapoisso.com. Lisa writes: ‘Your soul is not being judged at the pearly gates. You’re pitching a book in an industry based on pitching books. Toughen up. Lean into the punches and push back.’
• ‘How to start writing your novel’ by Cally Worden, published on The Enigma Blog. Cally writes: ‘If you perpetually avoid putting pen to paper (or fingers to keys) here are five possible reasons why, with some ideas to help you out of each particular novel-writing rut.’
• 'Crime fiction subgenres: Where does your novel fit?' by Louise Harnby, published on The Proofreader’s Parlour. Louise writes: ‘Understanding your crime-fiction subgenre(s) helps you tell readers where to find you, agents where to place you, and publishers where to shelve you. This article covers some of the biggies.’

EDITING IN PRACTICE

• ‘The art of being invisible’ by Brian Langan, published on Storyline Editing. Brian writes: ‘Book editors measure their success by their invisibility. Yet they share the emotional highs and lows of the authors, depending on the books’ critical reception.’
• ‘Proofreading pitfalls: Nine tips to improve your proofreading strategy’ by Hazel Bird, published on The Wordstitch Blog. Hazel writes: ‘How methodical is your proofreading approach? My latest blog post has nine tips on proofreading strategy from my experience as a project manager and proofreader.’

FREELANCE LIFE

• 'Business continuity planning for your proofreading service' by Pete Haigh, published on Kateproof. Pete writes: ‘My laptop broke. I thought it would be helpful to share my experience of what I did to get my editing and proofreading service back up and running and the lessons learnt (some the hard way!) from this process.’
• ‘Getting better and getting organised’ by Sarah Dronfield, published on Sarah Dronfield Proofreader. Sarah writes: ‘I hope that sharing my experiences will help others recognise when they need a break and/or what they could do to be more productive.’
• ​‘Introductory post to my series on being a nomadic editor and proofreader’ by Kate Haigh, published on Kateproof. Kate writes: ‘As the world’s workforce has the technology at hand to become less geographically fixed, I thought it might help other proofreaders and editors if I shared my experiences of being a nomadic editor and proofreader.’

LANGUAGE MATTERS

• ‘Cambridge Analytica Debacle – The Definition of Breach’ by Laureen Hudson, published on AlienVault. Laureen writes: ‘It's incredibly important, when explaining technology to those who are not fluent in its nuance, to use your words precisely, in a consistent and clear way. And as much as little sideslips like “on premise” and “crypto” make us all twitch, the use of the term “breach” when no actual breach occurred not only misleads people, it blurs the line between those victimized by breaches, and those manipulated without their explicit consent.’
• ‘Shakespeare’s Netymology’ by Laureen Hudson, published on AlienVault. Laureen writes: ‘Because technical editors and technical writers are also looking for ways to describe that thing that happens, we tend to be early adopters of protologisms, and move words along the spectrum to neologisms as fast as we upgrade the technology itself. As Shakespeare said in Henry V, “We, my dear, are the makers of fashion.”’

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

​If you’re an editor, making Word work hard for you is a must. The new and revised edition of Editing in Word 2016 is one of my recommended resources. Here's why.

I’m a fiction editor who works solely for indie authors and self-publishers. I work on raw-text files, and Microsoft Word is one piece of software that I cannot afford to be without.

Word has its snafus but I don’t know of any word-processing software that comes close to offering its superb functionality. I don’t just edit in Word; I’ve also created print- and digital-ready books directly in it.

So when fellow editor and author Adrienne Montgomerie asked me to review the second edition of Editing in Word 2016, I couldn’t wait to get stuck in. I’ve been using Word since 1991, so could Montgomerie teach this old dog a few new tricks? How about younger pups?
​
Let’s see ...

More than an ebook
This is a digital self-study course. Yes, you get the ebook with all the contextual information and foundational teaching. But there are also videos that show Word in action, and a bunch of exercises with which to practise what you learn at each stage of the process.

I love the fact that the advice is actionable. You read, you see, you learn, and then you do. There’s no better way to ensure it’s all sunk in.

A focus on core tools

We certainly do. Here are some of the tools that Montgomerie focuses on:

• Track Changes
• Comments
• Spellchecking
• Formatting
• Find and replace
• Styles
• Readability stats
• The equation editor
• Macros – creating, editing, running and using
• Recommended add-ins, plug-ins and apps

If you don’t know 8 out of 10 of the above tools inside out, you’re likely not as efficient or productive as you could be. That alone makes this course a worthy purchase.

That it’s a steal at just under 25 quid (excluding VAT) makes it a no-brainer.

​Let’s dig a little deeper ...

Screens, operating systems and how we work with Word
One of the best things about this course is its acknowledgement that editors work in different ways.

• I like Windows; you like a Mac. No problem.
• I like a ribbon/mouse combo; you like keyboard shortcuts; and he likes Mac menus. All those preferences are incorporated into the instructions.

Top tips
This course is rammed with useful and actionable tips on how to get stuff done and in ways that respect your preferences. For example:

• Pre-editing file preparation
• Different ways to do things: for example, running a macro or using keyboard-shortcuts instead
• Customizing your onscreen work space
• Incorporating additional plug-ins and apps into Word that will make editing even more efficient

And along the way, Montgomerie includes ‘Pro tips’, ‘Read more’ and ‘Troubleshooting’ callouts to keep you on track.

Video demos
I’m a big fan of multimedia learning. And when it comes to editing, sometimes just hearing your tutor’s voice and watching them go through the motions onscreen can trump the written word.

In addition to the ebook, there's a support website with 27 video tutorials for both Mac and Windows users.

This feature is excellent. I’ve come across a lot of editors who’d like to enhance their digital skills but are held back through fear. Montgomerie takes the stress away via accessible walkthroughs that even the most tech-nervous of nellies will be able to follow.

Here are just 3 examples:

• How to record a macro
• Installing an existing third-party macro
• Setting up autocorrect preferences

Practice makes perfect
There are 24 exercises in this course that help you to hone your skills and start doing what’s written in the book and shown in the videos.

Just a few examples include:

• Using autocorrect
• Locking Track Changes
• Language selection
• Comparing documents
• Customizing Word’s ribbon

A note on versions
This course was created in 2017 using Word 365 on Windows 10 and Sierra OS. Given that the author’s using the latest software and operating systems, you might find that the instructions need a little tweaking here and there if you’re using medieval Word (or should that be Wordeth?)!

For example, older versions of Word might have different ribbon displays, icons and menu options.

That’s unavoidable, and a reminder that, as professionals, we should be aspiring to use up-to-date equipment. I’d prefer my dentist not to fill my teeth with 10-year-old composites; we should treat our clients similarly.

My verdict
Did I learn anything new? Yes, I did. But editorial training isn’t just about finding out what you don’t know; it’s also great for affirmation of what you do know. I was pleased to learn from a pro that a lot of my Word usage is on track.

Here’s another thing, though: there are functions in Word that I use infrequently (e.g. erasing time stamps). I know it’s possible but I’ve simply forgotten how.

​And instead of trawling Google or spending valuable time asking questions in editing forums, I can have Editing in Word open on my desktop. From there, I can search, locate and solve my problem in seconds.

I recommend this without reservation for any editor who wants to get the very best from Word with a one-stop shop, especially those who've been held back by fear. Montgomerie will take that away from you – I promise.

Information and access

• Editing in Word 2016, 2nd ed.
• ISBN: 9781775045717
• Author: Adrienne Montgomerie
• Format: PDF 3.62 MB
• Price: £24.93 (excl. VAT)
• Access: Lulu. To get your copy of EIW16, click on the button below

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

Crime fiction falls into a range of subgenres. Knowing where your novel fits helps you understand what readers expect, which published writers you can learn from, and how you might stand out.

This post featured in Joel Friedlander's Carnival of the Indies #91
If you'd prefer to watch a video, scroll down to the bottom of the article.

This article provides an overview of some of the established subgenres, though the list isn’t exhaustive.

There’s crossover certainly and, depending on the commentator, crime fiction gets chopped up into subgenres variously.

I’ve elected not to focus on inverted-detective fiction, heists and capers, LGBTQ mysteries, feminist crime fiction, or romantic suspense, but these subgenres and more all have their place in the market.

One thing’s for sure: ‘Crime fiction is never static and never appears to be running out of ideas,’ says Barbara Henderson.

Two more reasons to know your subgenre
If you’re going it alone, one of your publishing jobs will be to help your readers find your book. When you upload to Amazon, Smashwords or any other distribution platform, you’ll need to decide which BISAC headings to place your book under.

And if you’re going down the traditional publishing route, identifying your subgenre(s) will help a literary agent understand which publishers have a best-fit list and where in a bookstore your novel will be shelved.

If the fit isn’t obvious to you, it could be harder to convince your agent that your book’s marketable.

Ultimately, though, it's the writing that needs to be top-notch, not strict conformity to one or another subgenre. These days, it's probably harder to find crime fiction that isn't fusion of subgenres!

Cosy crime fiction

If much of today’s crime fiction seems gritty, even gratuitously violent, and that’s not the way you want to write, fret not. Cosy crime is alive and kicking (though gently).

What distinguishes the cosy? Murder yes, but leave out the gore, the pain, and depressing social commentary. Your protagonist might well be flawed but no more so than anyone else in the novel, and your readers will embrace your hero’s quirkiness with a skip in their step.

That doesn’t mean the cosy isn’t tight on plot and well-paced action that drive the novel forward. Contemporary readers want fantastic mysteries with twists and turns that will keep them guessing.

Cosies can be liberating for the playful crime writer who wants to explore the genre with non-traditional characters placed in non-traditional settings: 

• ​Agatha Raisin is a former PR agent who moves to a village in the Cotswolds.
• Amy Myers’ Auguste Didier Mysteries feature a Victorian master chef cum sleuth.
• Lilian Jackson Braun’s The Cat Who … Mysteries feature Jim Qwilleran and his sleuthing cat Koko.
• Nancy J. Cohen’s Bad Hair Day Mysteries feature a beauty-salon owner.

Classic detective – the Golden Age and beyond

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RD Collins locates the start of the genre with Poe’s The Murders in the Rue Morgue. It found its feet with Conan Doyle’s Sherlock Holmes and entered into a Golden Age in the 1920s with Agatha Christie’s Hercule Poirot and Dorothy L Sayers’ Lord Peter Wimsey, among others.
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The Golden Age introduced ‘rules’ for the genre. Reba White Williams summarizes these as follows:

1. All the clues available to the investigator must be available to the reader.
2. There must be a body and we must be introduced to it quickly.
3. The perpetrator can’t conveniently appear out of nowhere in the finale.
4. The crime must be solved by deduction rather than coincidence.
5. There must be multiple clues that can be interpreted in a variety of ways, and more than one suspect.
6. Details must be accurate.

See also the quote further down from Otto Penzler about locked-room mysteries – no cheating with doubles and magic!

​Today’s authors must abide by the same rules, no matter whether their tales are set in Oxford with Morse, LA with Bosch, or Reykjavik with Erlendur.

Hardboiled crime fiction

That’s a quote from Raymond Chandler in conversation with Ian Fleming in 1958. Chandler’s response was to write crime fiction that was gritty, depressing, violent, cynical and seedy.
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Hardboiled crime writing, as it came to be known, pulls no punches. The protagonists aren’t invulnerable superheroes. And the environments within which they operate are those of contrast – urban decay and tourist hotspots, hope and corruption.

If your crime writing falls into this category, don’t set an amateur protagonist sleuth alongside foolish law-enforcement officers who have neither brains nor access to detection resources.

Hardboiled isn’t pretty but it’s rich in believability. Plots are fattened with complex characters, social commentary and, of course, murder.

Says Matthew Lewin on the contemporary hardboiled crime fiction of James Lee Burke and James Ellroy:

​Think Harry Bosch. Tim Walker refers to his creator Michael Connelly as ‘the modern Raymond Chandler’. ‘Connelly says he still sees it as a duty to acknowledge the social climate in his novels’.

​Think also Rebus; Ian Rankin, like Connelly, fuses hardboiled with police procedural masterfully. 

With hardboiled, even when the crime is solved, your readers won’t expect to close the book feeling that everyone will live happily ever after.

​Historical crime fiction

Popular series feature CJ Sansom’s Shardlake, SJ Parris’s Giordano Bruno, Susanna Gregory’s Thomas Chaloner, and Ellis Peters’ Brother Cadfael.

The genre is as interesting for its criminal investigations as for the lessons in social history afforded to the reader. And because the reader needs to understand the historical setting, these novels are often long.

Sansom’s Dark Fire comes in at a whopping 600-plus pages. I have the hardback version and I’m sure I bulked up my biceps just carrying the book from Waterstones to the car park.

If historical fiction floats your writing boat, be prepared to put in the research. Many of your readers will know their history so you’ll need to dig deep.

It’s no accident that the protagonists in these novels are curious renegade monks, lawyers, scholars and the like. The criminal justice system as it exists in our era bears little resemblance to that in these bygone days. Consider the following:

• How did the law work in your time period and location?
• Where did power reside? With the church, the monarchy, the government, or the military?
• What obstacles would your protagonist have been up against? Think gender, access to education, and class boundaries for starters.
• Would your antagonist have had an easier ride than a contemporary baddie? Think modern forensics, technology, transport, communications and socio-economic factors.

Some historical fiction is cosier and shorter. Consider David Dickinson’s Lord Powerscourt and Emily Brightwell’s Mrs Jeffries. These Victorian mysteries offer plenty of intrigue and good old-fashioned murder, but we’re spared the grisly details.

Don’t be surprised to see this lighter crime fiction splashed with a dose of humour as the authors cast their gaze over the social-economic and gender disparities typical of the era.

​Still, if the Regency or Victorian cosy is your bag, you’ll still need to gen up on period details.

​Legal and medical crime fiction

Courtrooms, labs and hospitals make for great crime fiction, and ‘lawyers and doctors make effective protagonists since they seem to exist on a plane far above the rest of us. Although popular, these tales are usually penned by actual lawyers and doctors due to the demands of the information presented,’ writes Stephen D. Rogers.

Here are some examples:

• John Grisham (A Time to Kill, The Runaway Jury) is a former criminal lawyer.
• Kathy Reichs (Déjà Dead, Bare Bones) is certified by the American Board of Forensic Anthropology.
• Robin Cook (Coma, Godplayer) is a trained medical doctor.

That old trope of writing what you know comes into play here and it’s a good reminder that using your own specialist knowledge to bring authenticity to your crime writing makes good sense. And if you’re not a former cop, doc or lawyer but you have friends who are, be sure to pick their brains.

In particular, research the role of your legal or medical protagonist and ensure that the powers of investigation you assign to them are appropriate for their location.

​Even if you’re pushing the boundaries of existing science, to give your reader the best experience the foundations will need to be solid.

Locked-room crime fiction

The crime scene is that of a moving train, a secluded and heavily guarded house, an aeroplane, a single-track road with only one way in and one way out ... less whodunnit, more howdunnit.
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A locked-room novelist is the illusionist of crime writing, the creator of ‘impossible’ fiction. And yet not so impossible as it turns out, as our brilliant protagonist gradually reveals all.

Take care though. No cheating is allowed with locked-room crime. Says Otto Penzler:

Well-known examples include:

• And Then There Were None: Agatha Christie
• The Hollow Man: John Dickson Carr
• The Murders in the Rue Morgue: Edgar Allan Poe

​The artistry of the locked-room mystery lies in the author’s ability to deliver a reveal that doesn’t rely on a device that doesn’t exist in real life, that doesn’t require information to be deliberately withheld from the reader, and isn’t so obvious as to be deducible at the beginning of the story.

I recommend The Locked-room Mysteries, Penzler’s superb anthology for aspiring locked-room crime writers who want to see masters at work. It's huge – over 930 pages – ​and heavy, but literally worth its weight.

Police procedural

If you’re writing a police procedural, your in-depth research will need to be top-notch. The angle you take will be determined by your protagonist’s skills. Examples include:

• Harry Bosch: detective (Michael Connelly)
• Jenny Cooper: coroner (MR Hall)
• John Rebus: detective (Ian Rankin)
• Kay Scarpetta: medical examiner (Patricia Cornwell)
• Kurt Wallander: detective (Henning Mankell)
• Lincoln Rhyme: forensic consultant (Jeffery Deaver)
• Temperance Brennan: forensic anthropologist (Kathy Reichs)

Procedurals are notable for their thoroughly researched and authentic rendering of detection, evidence-gathering, forensics, autopsies, and interrogation procedures in order to solve the novel’s crime(s).

Wowser tools and tech don’t come at the cost of strong characterization though. Rhyme is paralyzed following an on-scene accident. Cooper is recovering from the breakdown of her marriage. Rebus has a history of trauma dating from his former military career. Wallander has diabetes, and his daughter attempted suicide in her teenage years.

These in-depth backstories provide complexity and conflict – a kind of layering that fattens the plot without complicating it.

I find Cooper a little whiny, Rebus grumpy, Scarpetta arrogant, Wallander depressing. That doesn’t stop me falling in love with them though. In fact, flawed characters can balance the sterility of the procedural details.
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And you, the writer, might find a protagonist with foibles more enjoyable to write. Mankell did:

Spy thriller

When it comes to spy stories, your protagonist is a spook, the nation’s safety the hook. It’s a race against time – against a larger-than-life antagonist – in order to save, well, everyone. The plots are usually complex and the action high-octane.
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‘When you’re writing spy fiction you have one overriding goal: to keep the reader turning the pages,’ says Graeme Shimmin.
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Here’s some great advice from Kathrine Roid: Don’t wing it when it comes to plot:

If you’re wandering into spy-fi territory, you’ll have a little more freedom to play with gadgetry. If you’re keeping it real, do the research. Know your guns and your gear so that your protagonist doesn’t end up more tactifool than tactical.

But old on a mo. Your spy crime fiction doesn’t have to be a sprint like Robert Ludlum’s or Clive Cussler’s. Mick Herron is one of my favourite writers. The pace might be a little gentler but the brooding narrative is utterly believable. His Jackson Lamb series features the ‘slow horses’ – MI5 agents who’ve messed up and been put out to graze in the backwoods of inactive service.

Herron’s crime isn’t spy-fi – there are no wacky gadgets to get Lamb’s crew out of a fix. The characters are vulnerable, disgruntled, and bored ... until there’s a crime and Lamb suspects the spooks. It’s a fine example of character-driven writing with attention to detail on Service procedural and detection legwork.

Private eye and amateur sleuth

The private-eye tradition crosses subgenres: from cosy to hardboiled to classic thriller.

• For cosies, consider MC Beaton’s Agatha Raisin mysteries and Agatha Christie’s Miss Marple. Here, the amateur sleuth is surrounded by far less knowledgeable and somewhat hapless police officers.
• For hardboiled, think Chandler’s Philip Marlowe and Tim Weaver’s David Raker. Raker is a former journalist who, following the death of his wife, turns to investigating missing persons.
• Sara Paretsky and Sue Grafton offer two examples of gritty female PI protagonists in the form of V.I. Warshawski and Kinsey Millhone.
• One of my favourites is ‘accidental detective’ Myron Bolitar, a slightly softer-boiled sports agent with excellent martial arts skills and a compelling backup team.
• And let us not forget Precious Ramotswe, Alexander McCall Smith’s delicious founder of the No. 1 Ladies' Detective Agency. McCall Smith manages to keep things light without getting too cosy, and captivate without shocking. It’s gentle, penetrating crime fiction.

Telling your story through a point-of-view character who works outside law enforcement has its advantages: your protagonist can behave and move in ways that a detective can’t, at least not without risking their job.

On the other hand, your sleuth won’t have access to the wealth of contemporary resources available to the police.
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And take care not to make your amateur’s successes depend on witless professionals. Certainly, every organization/service has its fools and bad apples, and crime fiction is the perfect tool with which to explore police and state corruption, but contemporary readers are unlikely to engage with a novel whose chief investigator is an oaf.

Transgressor/noir

If this is your bag, you’ll go where others fear to tread. Whodunnit is still in the mix, but whydunnit is close behind.

It shares the grit of hardboiled but is distinctive for its focus on the narratives of the transgressor (Eoin McNamee: Resurrection Man), the victim (Larsson: The Girl with the Dragon Tattoo), or both (Lippman: I’d Know You Anywhere).

The authors who do this subgenre best seem almost to be able to channel their characters’ psychosocial conflict, and dig deep into the predator–prey relationship.

And even when the detective is the protagonist, they’re less superhero than anti-hero, troubled by demons, working despite – rather than within – an establishment as troubled as them (James Ellroy: LA Confidential; Antonin Varenne: Bed of Nails).

​Says Penzler in ‘Noir fiction is about losers, not private eyes’:

​Regional variants – e.g. Tartan, Scandinavian, Emerald – that represent the landscape, culture, idiom, and social and political identity of their settings have emerged to international acclaim.

A quick note on subgenre fusion

Your book might well fall into what Agnieszka Sienkiewicz-Charlish calls genre syncretism: ‘the hard-boiled detective story, the police procedural, Gothic fiction and the psycho-social novel’. She offers Rankin’s Rebus novels as an example.

Consider also China Miéville's The City & The City. In this novel, two locations occupy the same physical space. At heart, it's a police procedural, but there's a speculative/fantasy take on the hardboiled tradition: the shiny surfaces of one city butt up against a grubbier alternate, yet residents of each are legally bound to 'unsee' each other. As such, Mieville incorporates a subtle commentary on state authoritarianism, surveillance and corruption into a murder investigation.

Genre syncretism can help your work stand out, but take care to recognize the conventions of each so that the core subgenre elements are all done well. No reader will thank you for promising a fusion of hardboiled and police procedural if both are half-baked. Good writing trumps everything.

I hope you find this useful and wish you sleuthing success on your crime-writing journey!

And there's that video I promised for those of you who'd prefer to watch or listen.

​Further reading

• ‘From cozy to caper: A guide to mystery genres’: Stephen D. Rogers, Writing World, 2002
• ‘Henning Mankell: I'm not afraid of dying’: Interview with John Preston, The Telegraph, 2011
• ‘How to write a crime novel’: Penguin Random House webinar with Dr Barbara Henderson, 2018
• ‘How to write a spy novel’: Kathrine Roid, 2011
• ‘In conversation: Ian Fleming and Raymond Chandler’: Transcript published in Five Dials, 1958
• ‘Michael Connelly interview: The modern Raymond Chandler on Bosch, The Long Goodbye, and LA's neighbourhoods’: The Independent, 2016
• ‘Modern hardboiled crime’: Matthew Lewin, The Guardian, 2009
• ‘Murder most cosy: Why mystery novels involving quilts and cats are big business’: Alison Flood, The Guardian, 2015
• ‘Noir fiction is about losers, not private eyes’: Otto Penzler, Huffington Post, 2010
• ‘Tartan noir: Crime, Scotland and genre in Ian Rankin’s Rebus novels’: Agnieszka Sienkiewicz-Charlish
• The Art of Firearms in Fiction
• ‘The best locked-room mysteries: when impossible crimes aren’t’: Otto Penzler, Huffington Post, 2014
• ‘The Golden Age of detective fiction’: Reba White Williams
• The Locked-room Mysteries: Otto Penzler, Corvus, 2014
• ‘The origins of detective fiction’: RD Collins, Classic Crime Fiction, 2004
• ‘Writing spy fiction with an unputdownable plot’: Graeme Shimmin

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How do you get fiction editing and proofreading work? This post offers some pointers for newbie freelancers, and experienced editors looking to shift specialisms.

1. Start with baseline training
To be fit for working in any editing discipline, fiction or otherwise, training is the foundation. Even if you’ve been devouring your favourite genres for years, you need to understand publishing-industry standards.

This isn’t about snobbery. It’s about serving the client honestly and well, especially the self-publisher, who might not have enough mainstream publishing knowledge to assess whether you’re capable of amending in a way that respects industry conventions.

It’s about the reader too. Readers are canny, and often wedded to particular genres. They’re used to browsing in bookshops and bingeing on their favourite authors. They have their own standards and expectations.

One of our jobs as editorial professionals is to ensure we have the skills to push the book forward, make it the best it can be, so that it’s ready for those readers and meets their expectations.

And so if you want to proofread or edit for fiction publishers and independent authors, high-quality editorial training isn’t a luxury: it’s the baseline.

What kind of training you need will depend on what services you plan to offer.

Courses
I recommend the Publishing Training Centre and the Society for Editors and Proofreaders for foundational copyediting and proofreading training. I’m based in the UK, and those are the two training suppliers I have experience of so I’m in a position to recommend them.

That doesn’t mean that other suppliers aren’t worth exploring. Rather, I don’t recommend what I haven’t tested. Keep an open mind. Check a range of suppliers and their course curricula. Then choose what suits your needs.
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• Basic Proofreading: Editorial Skills One (Publishing Training Centre. Despite the word ‘Basic’, this is a comprehensive, flagship, industry-recognized course)
• Essential Copy-Editing: Editorial Skills Two (Publishing Training Centre)
• Proofreading 1–4 (Society for Editors and Proofreaders)
• Copy-editing 1–4 (Society for Editors and Proofreaders)
• See also this list of professional editorial societies; they’ll be able to advise you if you live outside the UK

If you want more information about how the PTC and SfEP courses compare, talk to the organizations’ training directors.

2. Decide which fiction editing services you want to offer
Some beginner self-publishers don’t understand the differences between the different levels of editing, which means they might ask for something that’s not in their best interests (e.g. a quick proofread even though the book hasn’t been critiqued, structurally edited, line- and copyedited).

It’s essential that the professional fiction editor is able to communicate which levels of editing they provide, and recommend what’s appropriate for the author.

That doesn’t mean the author will take the advice, but the editor must be able to articulate her recommendations so that independent authors can make informed decisions.

3. Invest in appropriate specialist fiction training
The next step is to gain skills and confidence with fiction editing and proofreading work. As with any type of editing, the kinds of things the editor will be amending, querying and checking will depend on whether the work is structural, sentence-based or pre-publication quality control.

When deciding what specialist fiction editing courses to invest in, bear in mind the following:

• Even if you have experience of developmental editing non-fiction, this skill will unlikely transition smoothly to story-level fiction editing without specialist training.
• Even if you’re an experienced sentence-level fiction editor, this skill will not make you fit to offer structural editing or critiquing without specialist training.

Courses and reading
Explore the following to assess whether they will fill the gaps in your knowledge. Check the curricula carefully to ensure that the modules focus on the types of fiction editing you wish to offer and provide you with the depth required to push you forward.
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• Introduction to Fiction Editing (Society for Editors and Proofreaders; course)
• Developmental Editing: Fiction Theory (Sophie Playle, Liminal Pages; course)
• Developmental Editing: In Practice (Sophie Playle, Liminal Pages; course)
• Editing Fiction (Publishing Training Centre; introductory e-learning module)
• Introduction to Developmental Editing (Author–Editor Clinic; course)
• Write to be Published (Nicola Morgan; book)
• The Magic of Fiction (Beth Hill; book)

This isn’t a definitive list but it’ll set you on the right track.

4. Get in the right mindset
Fiction editing requires a particular mindset for several reasons:

Style and voice
We’re not only respecting the author, but the POV character(s) too. The fiction editor who doesn’t respect the voices in a novel is at risk of butchery.

Being able to immerse oneself in the world the writer’s built is essential so that we can get under the skin of the writing. If we don’t feel it, we can’t edit it elegantly and sensitively.

Intimacy
Non-fiction is born from the author’s knowledge. Fiction is born from the author’s heart and soul.

If that sounds a little cheesy, I’ll not apologize. Many of the writers with whom I work are anxious about working with an editor because they’ve put their own life, love and fear into the world they’ve built.

A good fiction editor needs to respect the intimacy of being trusted with a novel. If that doesn’t sound like your bag, this probably isn’t for you.

Unreliable rules
At the recent fiction roundtable hosted by the Norfolk group of the Society for Editors and Proofreaders, guest Sian Evans – an experienced playwright and screenwriter – talked about how punctuation in screenplays is as much about ‘the breaths’ the actor is being directed to take as about sentence clarity.

These ‘breaths’ exist in prose. They help the reader make sense of a sentence ... not just grammatically, but emotionally. And so the addition or removal of just one comma for the sake of pedantry can make a sentence ‘correct’, or standard, but shift tone and tension dramatically.

The fiction editor needs to be able to move beyond prescriptivism and read the scene for its emotionality, so that the author’s intention is intact but the reader can move fluidly through the world on the page and relish it.

All of which is a rather long-winded way of saying that if you want to get fiction editing work, and keep on getting it, you’ll need to embrace rule-breaking with artistry!

Fiction work requires us to respect both readability and style. The two can sometimes clash so gentle diplomacy and a kind hand will need to be in your toolbox.

5. Read fiction
If you don’t love reading fiction, don’t edit it.

And if you don’t love reading a particular genre, don’t edit it.

Editing the type of fiction you love to read is a joy, and an advantage. If you read a lot of romance fiction, you’ll already be aware of some of the narrative conventions that readers expect and enjoy.

I started reading crime fiction, mysteries and thrillers before I’d hit my teens. I turned 51 in March and my passion for those genres hasn’t waned. That stuff makes up over eighty per cent of my work schedule too. Here’s the thing though – my pleasure-reading has supported my business.

I get to see first-hand how different authors handle plot, how they build and release tension, how they play with punctuation, idiomatic phrasing, and sentence length such that the reader experiences emotion, immediacy and immersion. And that helps me edit responsively.
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Honestly, reading fiction is training for editing fiction. In itself, it’s not enough. But professional training isn’t enough either. Love it and learn it.

6. Learn from writers
​If you want to understand the problems facing the self-publishing author community, listen and learn.

Join the Alliance of Independent Authors. Even lurking in the forum will give you important insights into what self-publishers struggle with an how you might help.

Take advantage of online workshops aimed at beginner writers. Penguin Random House offers regular free online webinars via The Writers' Academy. Experienced writers and instructors take you on whistle-stop tours of setting, dialogue, characterization, point of view, crime fiction writing, children's books and a whole lot more.

Listen to published novelists’ stories. My local Waterstones hosts regular author readings/signings. I’ve seen Garth Nix, Jonathan Pinnock and Alison Moore speak. In April 2018, Harry Brett is chairing a session on how to write crime with Julia Heaberlin and Sophie Hannah.

In May, fellow editor Sophie Playle and I are attending 'Why Writing Matters', an event hosted by the Writers' Centre Norwich in association with the Norwich & Norfolk Festival. And Jeffery Deaver's coming to town too. Ticket booked!

These workshops cost from nothing to £12. That's a tiny investment for any fiction editor wanting to better themselves.

7. Get in front of publishers
The best way to get publisher eyes on your editing skills is to go direct. Experienced fiction editors are sometimes contacted direct but sitting around waiting to be offered work never got the independent business owner very far and never will.

Experienced ... but not in fiction
If you’re an experienced editor or proofreader who already has publisher clients but they’re in a different discipline (e.g. social sciences, humanities) you’ll likely have built some strong relationships with in-house editors.

Publishing is a small world – in-house staff move presses and meet each other at publishing events. It might well be that one of your contacts knows someone who works in fiction and, more importantly, will be happy to vouch for your skills.

With specialist fiction training, you’ll be able to leverage that referral to the max. So, if you have a good relationship with an in-house academic editor, tell them you’d like to explore fiction editing and ask them if they’d be prepared to share a name and email and give you a recommendation.

Newbie
If you’re a new entrant to the field, it’s unlikely that a cold call to HarperCollins or Penguin will be fruitful. The larger presses tend to hire experienced editors with a track record of hitting the ground running.

There are two options:
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1. Target smaller, independent fiction presses. Ask if they’d consider adding you to their freelance list. Be clear about the training you’ve done and your genre preferences. The fees might not be great, but I recommend you look at this as a paying marketing and business-development opportunity. You’ll be able to leverage the experience, the testimonials and the portfolio entries later.
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2. If the small press responds by saying that they aren’t in a position to hire external editorial work, ask if you might do a one-off gratis proofread/edit for them as a way of gaining experience and supporting their independent publishing programme – mutual business backscratching. Again, you can leverage this experience when targeting paying fiction clients (publishers and indie authors).

8. Be visible online
There’s no excuse for any twenty-first-century professional editor to be invisible. There’s no one way to visibility – take a multipronged approach.

Directories
If you’re a member of a national editorial society, and they have a directory, advertise in it as a specialist fiction editor/proofreader.

If you’re not a member, become one. It won’t be free, but running a business has costs attached to it. If we want to succeed, we need to be seen. That doesn’t land on our plates; we must invest.

If your society doesn’t have an online directory, lobby for one to be set up and promoted. I’d go as far as to argue that a professional editorial society that isn’t prioritizing the visibility of its members isn’t doing its job properly.
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• The Society for Editors and Proofreaders IS doing its job properly. I rank highly in Google for certain keyword phrases, but it’s not always my website that shows up – sometimes it’s my SfEP directory entry. It thrills me to know that my membership sub is providing me with networking, friendship, training opps, and visibility in the search engines.
  
  If you don’t qualify for inclusion, make doing what’s necessary a key goal in your business plan.

 

• Reedsy – despite what you might have heard – does NOT set low rates that encourage a ‘race to the bottom’. Editorial professionals set their own rates and Reedsy takes a cut of the fee. I receive several requests a month to quote for fiction copyediting or proofreading via Reedsy and have worked with some wonderful authors. Entry in Reedsy’s database is free but you must have a certain level of experience to be invited.
  
  Again, if you don’t qualify for inclusion, make doing what’s necessary a key goal in your business plan.

Create content for indie fiction authors
Any self-publishing fiction writer looking for editorial assistance is more likely to think you’re wowser if you help them before they’ve asked for it.

Create resources that offer your potential clients value and you’ll stand out. It makes your website about them rather than you. And it demonstrates your knowledge and experience.

Doing this might require you to do a lot of research, but what a great way to learn. Don’t think of it as cutting into your personal time but as professional development that makes you a better editor.

And think about it like this: Who would you rather buy shoes from? The shop where the sales assistant tells you all about her, or the shop where the sales assistant helps you find shoes that fit? It's no different for authors choosing editors.
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I have an entire Self-publishers page dedicated to resources for fiction authors. I’m not alone. These fiction editors have resource hubs too: Beth Hill, Sophie Playle, Lisa Poisso, Kia Thomas and Katherine Trail. There are others but I’m already over the 2,000-word mark!

Shout out your fiction specialism
Shout your fiction specialism from your website’s rooftop. Why would a fiction writer hire someone who doesn’t specialize in fiction when there are so many people dedicated to it?​

Related reading
Here are some additional articles that you might find useful if you're considering moving into the field of fiction.

• The different levels of editing: Proofreading and beyond
• How do mainstream publishers produce books?
• What makes a good fiction editor?
• Should a writer hire a freelance editor before submitting to an agent?
• What's a sample edit? Who does it help? And is it free?

Good luck with your fiction editing journey!

And one final thing ... here’s a PDF booklet you can download. That way, you can review the guidance on getting fiction editing and proofreading work at your leisure, and on your preferred device.

Blogging for Business Growth is open for registration now! Learn how to build an editorial business blog in 13 steps.

About the course
In 13-steps, ​Blogging for Business Growth shows you how to build a discoverable, captivating and memorable blog-based content platform that drives traffic to your website, makes you visible in the search engines, and compels clients to get in touch.

It doesn't matter where you live. The principles underlying the teaching are relevant to you as a global editor with a potential global client base.

​And there are no time restrictions on the training. Once you've bought a course you can access the materials whenever you wish ... for as long as you wish.

What's included?

• a recorded webinar
• an ebook (circa 24K words)
• an ebooklet with 62 blog-post ideas
• a build-your-blog workbook
• a sample workbook filled in by a fictional editor
• a pre-publication blog post checklist 
• a ready-to-go content log template
• a success metrics checklist
• exclusive video tutorials
• quick-access links to related materials
• a 20% discount coupon

Course curriculum
The course is designed so that you can build a purposeful blog step by step. Topics include:

• Introductory principles of a quality blog-based content platform
• Blog content creation: How to never run out of ideas
• Branding your blog so that it's recognizable and appeals to your target clients
• Hosting and creating second homes to drive visibility
• Blog design: What to include
• Blog promotion: How to get your content seen
• Keeping a content log to enable repurposing and internal linking
• Creating a publication schedule and using scheduling tools
• Building a subscriber list
• Bringing your blog alive with video
• Tips and tools to overcome technical problems and emotional resistance
• Video hosting and embedding
• Measuring the success of your blog

The webinar and written materials

The webinar takes you through the key steps to building a blooming blog that will drive visibility and offer compelling value to potential clients. The complementary ebook includes the core written content and links to all the tools and resources I cite in the webinar. 

Additional PDF booklets help you with the following:

• Generating ideas for over a year's worth of blog content
• Incorporating video into your blogging
• Repurposing blog content creatively for social media

Plus, I've created a sample for you so you can see how you might summarize key learning points and drive your editorial business blog forward. I use the example of an editor who specializes in working with writers of children's books.

Additional video tutorials
Each course comes with additional tutorials available exclusively to Fingerprint students ... videos that show you how to use some of the tools I refer to in the training.

​However, the content will expand over time. If there's something extra you need directly related to the course, just ask me. I'll create a custom walk-through ... but you won't pay a penny more.

​Scroll through the slideshow below to see what's on offer.

Early-bird registration is open!
Registering your interest doesn’t oblige you to buy the course. It just means you’ll be contacted when the course goes live in mid-April and given the option to order at the reduced price.

And if you’ve already bought my social media course, you’ll be able to use the additional voucher on the course page that gives you even more money off!

Early-bird registration closes on 20 April 2018. Register now to save 20%!

• Standard price: £59.99
• Early-bird price: £48

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Some blogs are poorly right from the get-go. If yours is feeling under the weather, here are 6 treatments that will turn it, and your website, into a vibrant resource centre that drives your business forward.

​I’ve been blogging since 2011 and my blog is the single biggest driver of traffic to my website – around 36,000 page views per month. Given that 99% all of my clients come to me via Google and two online directories, having a strong web presence is the difference between being booked up six months in advance and being unemployed.

Those visitors end up on my blog for three reasons:

• They want to hire me because of the job I do (copyediting fiction books)
• They want to find out how to do the job I do
• They’re already doing the job I do but are stuck

Big-picture focus
This article doesn’t focus on the technical minutiae of whether to use Wordpress or Weebly, filling in metadata, writing great headlines, breaking up text with pictures, adding in calls to action, SEO keywords, paragraph length and so on and so forth.

​That’s not because all the micro stuff isn’t important, but because none of it will amount to anything if the macro issues aren’t in order.

Instead, I focus on six big-picture reasons why blogs become poorly, and offer some medicine that will turn them, and the websites hosting them, into vibrant resource centres that drive our businesses forward.

Problem 1: The blog doesn’t solve problems
Some of the blogs I wrote between 2011 and 2015 are a technical disgrace but they worked – and still work – because the content is helpful and shareable.

A blog that doesn’t solve problems is a written exercise in self-indulgence and won’t make us the go-to professionals for anything. At best, we’ll be instantly forgettable; at worst, people will talk about us for all the wrong reasons.

A colleague recently told me about a piece of video content he’d watched: ‘After 10 minutes I’d lost the will to live. After 20, I’d lost the will for the vlogger to live.’ I trust my colleague, whereas I don’t know or trust that vlogger. Consequently, I didn’t watch the video.

There are a ton of online examples of desperate business owners employing attention-seeking methods to get eyes on their content. It can work once, maybe twice. But if we rely on shock, surprise, upset or gaining  sympathy with our audience, and no solution, our content-marketing successes will be short-lived.

Don’t puke over the reader
We all have problems – that doesn’t mean we have to vomit over our audience with our content. Plus, shock and controversy have a short shelf-life. Today’s audiences are easily desensitized and quickly bored, so high-quality problem-solving content will trump the shock factor every time.

Nothing should appear on our blogs that doesn’t help the reader move forward in some way. And if we can’t solve a problem, we should hold off, research and rewrite.
Only once we have a solution should we publish.

When we do solve problems, we make ourselves valuable. People are more likely to talk about, share, like and comment on our blog content.

And that has huge SEO benefits over time because the search engines love seeing evidence of a great user experience. Focus on solving the audience’s problems from the get-go and we are well on the way to building a platform that puts us top of mind and discoverable in the search engines.

Problem 2: The blog is published irregularly
Lack of regularity is probably the most common reason for blog failure. We do it for a bit, then run out of ideas, or time, or passion.

This is how a reader perceives a blog that publishes content irregularly:

• The blogger doesn’t know their stuff well enough to solve problems
• The blogger isn’t committed or can’t be bothered to solve problems

Those feelings don’t inspire trust. If your window cleaner couldn’t be bothered to clean your windows on a regular basis how quickly would you try to find a replacement? It’s the same with blogging. No one’s going to talk about or share our content if we can’t be bothered to create it regularly.

Earning the rankings and referrals
We have to earn the right to be top of mind for referrals and benefit from our colleagues’ and clients’ SEO-driving activity.

And without those likes and shares, Google won’t recognize us as business owners who are actively engaging. That will impact negatively on our rankings.

Build a blog plan
If you don’t have the time or commitment for blogging, that’s absolutely fine. Don’t do it – focus on making your business visible in other ways. Blogging is just one option.
However, if you do want your blog to be your primary content platform, the solution is to build a blog plan beforehand.

Here are four initial steps for your plan:

• Identify your audience. Consider colleagues as well as clients.
• Create 52 draft titles for problem-solving content. If you plan to publish once a week, that’s a year’s worth of content ideas; twice a month and you’ll have two years’ worth.
• Decide on your publication schedule.
• Draft your promotion schedule.

Here are four ideas for how to generate content:

• Take inspiration from your job. What do your clients and colleagues struggle with? What have you struggled with? Answer those questions on your blog.
• Take note of the questions people ask in your industry’s forums and at conferences. Answer those questions on your blog.
• Invite questions on your website via a box or pop-out.
• Review products, apps, courses, books, tools, forums and conferences related to your industry.

Here are four ideas for how to save time:

• Write efficiently – create batches of articles around a theme.
• Repurpose existing content (e.g. from slideshows, presentations, case studies, reports, guest articles, books, meetings and conferences) as blog posts.
• Update stale content using your existing knowledge base. Blogging is a journey and it’s perfectly acceptable to revisit old topics; you’re demonstrating your readiness to review and adapt.
• Set aside time in your working week for your blogging.

Problem 3: The blog is unnavigable
No one searches online for a blog. They search online for solutions. If they click through to our websites, the first place they’ll head for is unlikely to be the blog tab. And even if is, will our visitor find the answer to their problems in the content that’s visible on the first page of the blog?

If we only have 10 pieces of content, yes. What if we have 40? How about 500?

Second homes
The solution is to create second homes for our blog content – libraries, hubs, resource centres ... call them what you will.
​
I have two on my website – a self-publishers page and an editor resources page.

There is not one single piece of fresh content on those pages. They’re libraries of titled images that depict what problem I’m solving. However, if you click on the images you’ll end up reading the full articles on the blog.

These libraries help my audience find my very best content – the stuff that’s most likely to be talked about, get me known, and make my visitors think I’m helpful and knowledgeable.

I only started creating content for one of those libraries in May; it’s already the fourth most popular page on my site ... and that’s because it’s obvious what’s on offer and whom it’s for.

Few business bloggers funnel their content through to other pages, and it’s the biggest lost opportunity I can think of. Do this and you will stand out from your competitors for very little additional effort.
​
Here, we’re using our blog content to turn our websites into resource centres rather than all-about-me-and-how-great-I-am sites.

Problem 4: The blog is shallow
My marketing coaches Andrew and Pete preach the art of creating content that makes people fall in love with you. I love this idea because it focuses on emotion – of getting under people’s skin, making them feel something.

This sits nicely with the problem-solving principle discussed above. When we solve problems we make people feel something – happy, grateful, relieved, empowered.

Emotion born from solutions
Just to be clear, those emotions should be evoked as a result of our solving a problem. For example, our funnies alone won’t be enough to make anyone subscribe to and share our content in the long term. No one will waste time reading a funny photographer’s blog if he or she doesn’t solve photography problems too. That’s because if all we want is a laugh, Dara Ó Briain and Rich Hall will do it better.

Tone on top of solutions
Even if our content is technically good, we have competition. Readers need to hear our voices and our personalities in our posts so that we stand out. I tend to go for warm and friendly.

Other tone options might include cheeky, funny, blunt, sweary or ranty. All of that stuff is great but bear in mind that it’s just dressing at the end of the day. It should always hang on a body of solutions.

Going deeper with solutions
There are already a bajillion blogs with the basics just,  about everything. Repeating the same old stuff is boring, and boring blogs are a killer. We need to bring our blog posts alive with case studies (made-up ones if necessary), and stories based on our own experiences, so that our readers have gravy on the meat and two veg.

That kind of deeper detail draws people in, makes them feel like we’re really talking to them, not just stuffing our websites with keywords. That is not to say we shouldn’t aim our content at beginners or focus on the basics – far from it. Rather, our content needs to have personality and detail.

When we go deep we make an old subject sound fresh because it’s rich with our voices and our experiences.

Problem 5: The blog doesn’t fulfil audience expectations
I don’t visit a dentist’s website expecting to find a treatment for the verruca on my foot. I’m there to sort out my teeth. A blog needs to have a recognizable and understandable raison d’être too.

We’re busy and none of us has time to read everything, join every group, watch every vlog, listen to every podcast, do our jobs, and have a life. Blogs that don’t give people a very good reason to be there are doomed. They won’t be bookmarked, subscribed to or shared. If a reader doesn’t understand why they should bother, they’ll quickly lose patience and go elsewhere.

There are two reasons why an audience could become confused and disengage:
The content is coherent but isn’t aligned with the business creating it. This happens when the blogger has misunderstood the audience’s expectations even though there are myriad specialist solutions that could be offered.

The content is incoherent and there are too many audiences. This can happen when a business – usually a product-based one – can’t sustain long-term content creation around the product alone. To compensate, the blogger covers multiple topics for multiple audiences whose problems are already being solved in depth by relevant specialist bloggers elsewhere.

Here are two examples where those problems have been solved.

Coherent and aligned: The pro presenter
There’s plenty one can write about presenting, and that content can be targeted at non-presenters who need to tackle the process, and those who want to run a presentations business.

Relevant content might cover the following: dealing with stress, introversion, lack of confidence, speech impediments, organization and planning, which software to use, which venues are best, managing acoustics, scheduling, equipment, payment terms, contract problems, learning resources, apps and plugins to aid preparation, training opportunities, marketing a presentations business, getting published, creating engaging slides, finding and retaining clients, and so on.

The presenter is blogging about topics aligned to their core service and targeting an audience with problems related directly to it. The blog is therefore coherent and aligned.

Coherent and side-aligned: The condom company
There’s only so much one can write about condoms. Durex knows that it will not be able to sustain its audience’s interest in latex and lube, and there are only so many flavours and colours.

However, it also knows that its audience is interested in sex, otherwise people wouldn’t need condoms.

Durex has created a blog called Love Sex that offers all sorts of tips about perfect massages, advice on STDs, relationships, other forms of contraception, orgasms, positions ... you name it, it’s there.

It’s a very clever way of creating content about a related but more interesting issue.
If you can’t sustain long-term content creation around your product or service, shift your thinking sideways but make sure it’s focused on your audience’s problems.
Durex isn’t blogging about condoms, but it’s still focusing on content that’s related sideways to its core product. Its blog is therefore coherent and side-aligned.

Nudging with a name
Naming our blogs can help signal purpose. Mine’s called The Proofreader’s Parlour, which should be an indication that my focus is on words.

I also publish a lot of content about marketing, but it’s marketing for editors and proofreaders. And I offer content about training, but it’s training for editors and proofreaders. It’s not as interesting as the Durex blog but it solves my clients’ and colleagues’ problems and that’s all that matters!

Problem 6: The blog is invisible
Blogging without blog promotion is a supreme waste of time. It matters little that we’ve nailed all of the above if our blog’s invisible. We could spend hours crafting beautiful content for our target audience, but if we don’t invest the time or effort in making it visible it will have no purposeful business or economic value.

Superhero delivery
There are numerous ways to promote a blog, and what works for you might not work for me. One thing’s for sure though – social media is the superhero when it comes to content delivery.

Three huge platforms – LinkedIn, Twitter and Facebook – offer a superb suite of tools to help us get seen out there.

What clear is that it’s about more than just posting links and pretty pictures, now more than ever. Indeed, we have to work increasingly hard on these busy platforms with their ever-shifting algorithms.

However, persistence pays and there is no faster way to get your blog content, and your business, in front of people than by embracing social media.

Automating to make space for crafting
Content should be scheduled regularly because on some platforms, Twitter especially, the feed moves so fast that your blog-post links are more likely to be missed than seen. I post on Twitter ten times a day, seven days a week.

Automate your evergreen posts where you can (full automation will shortly not be possible on Twitter via the likes of Recurpost). That will free up time for posting manually on your core platforms. Manual posting allows us to craft our posts with the algorithms in mind.

An example: Crafting for Facebook
Here are some of the ways in which you might promote your blog content on Facebook:

• Upload blog posts natively (direct to the platform) rather than linking.
• Create mini summaries of a blog post on a Page that invite conversations. Place a link to the blog post in the first comment.
• Upload cute, shareable videos that summarize the core themes of a post.
• Run chatbot campaigns that include booklets repurposed from blog content.
• Upload vlog versions of blog content.
• If your broadband connection is stable, go live with a discussion of your content.
• Post links to blog posts in groups if that content answers a specific question. If in doubt check with the admins that this is acceptable practice.
• Join blog carnivals (threads of links to blog posts) in Facebook groups where the practice is encouraged. If it doesn’t yet exist, suggest it to the admins.

Six-tip summary

• Be purposeful with problem-solving
• Build trust with regular publishing
• Spotlight your best content in second homes
• Infuse the key takeaways with deeper stories and case studies
• Align or side-align your content with your business so that it makes sense for your audience to bother with it
• Commit to promotion so that your hard work is visible

​Good luck building a healthy blog!

Here's a free ebook (for those of you who missed it the first time round). Just click on the image to download your copy. And if you're ready to dig deep, take a look below at my new Blogging for Business Growth course.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Here's the fourth part of my audio-book creation series. In this article, professional voice artist Ray Greenley discusses distribution options, the importance of having your manuscript edited prior to narration, and briefing your voice artist or producer. Here's Ray ...

Distribution decisions
So you’ve listened to your auditions, you’ve researched your potential producer and think they’re the one for your book, and you’ve come to an agreement on payment terms.

There are a few other bits you’ll need to work out before you can offer the producer a contract.

One is whether you want to distribute exclusively through Audible, Amazon, and iTunes for a higher share of the royalties from sales (royalties are 40% of sale price), or non-exclusively, which means you can set up distribution yourself through other platforms, but you’ll get a smaller share of royalties from sales through Audible, Amazon, and iTunes (royalties are 25% of sale price).

Note that if you want to do a Royalty Share or Hybrid contract on ACX, you MUST do exclusive distribution.
​
There’s some other information you’ll need to work out with the producer:

• The date for the First-15-Minutes evaluation (more about this later)
• The date for project completion

Different producers work at different paces; and many will have other books already waiting to be recorded. They might be able to start on your book right away and have it done in a week or two, or they might be scheduling out months in advance.

Talk to your producer and let them know if you have any schedule in mind, but be ready to be flexible.

​Once you have those dates, you can offer the contract, and when it’s accepted you’re almost ready to go! There’s just one more thing you need to do, and that’s provide the producer with your final, ready-to-record manuscript.

Editing your manuscript
Now, I promise this isn’t just me sucking up to my gracious host, but please, for the love of all that’s good and holy, make sure your manuscript is edited and proofed by someone who knows what they’re doing.

It makes the project many times more difficult when we have to struggle through bad grammar, missing punctuation, and poor formatting. In some cases (as happened with me early on), we can’t do it and the contract has to be canceled.

If you find a producer who you like working with and does good work for you, then you’ll want to build that relationship into something ongoing. Handing them a manuscript that they can barely get through isn’t going to help.

And while those grammar errors may seem innocuous enough on the page to your eyes, they’re VERY hard to hide in audio.

Now, we producers know enough to not expect perfection. We can handle a reasonable number of errors in a manuscript. But in the end, it’s best for you, for us, and for your readers to get your manuscript properly edited, so please do it before sending the manuscript to us.

Briefing your producer
​From here on out, it sort of depends on you and the producer.

One thing that’s often very handy for a producer is to get some additional information about the characters in the story, including:

• Your preference for vocal qualities or accents
• How important the character is
• Whether the character will be in future books (and especially if the character becomes more important in future books)

Also, if your book has words that your producer might have a hard time finding pronunciations for (particularly with made-up names in science fiction or fantasy books), having a key is really helpful.

It’s really important to get this sort of information as early as possible while the producer is preparing to narrate the book, but before they’ve actually hit ‘record’.

​None of that stuff is vital; if you picked your producer well, they’ll be ready to handle all of that on their own. But having some guidance can definitely help.

In the final article, we'll look at evaluating the first 15 minutes and production approval. Until then ...

​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

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

If you think there's no place for macros in fiction editing, think again. My friend Paul Beverley has collated a core group of macros that will have any fiction line editor, copyeditor or proofreader drooling! Self-publishing authors will love them too!

I don't use all of these (every editor has their preferences) but some of them are staples and save me oodles of time! 

Some of the macros apply when you’re looking at the whole text of a novel, while others are selective ... for use while you’re editing line by line. Bear in mind that they're designed to be used with MS Word files.

Macros that work with the whole text
These macros are ideal near the beginning of the edit, when you’ve put together the whole book in one single file, and you want to look for inconsistencies.

ProperNounAlyse searches the novel for any words that look like proper nouns; it counts their frequency, and then tries to locate, by using a variety of tests, and pairs of names that might possibly be alternative spellings or misspellings, e.g. Jayne/Jane, Beverley/Beverly, Neiman/Nieman, Grosman/Grosmann etc.

FullNameAlyse is similar to ProperNounAlyse, but it searches for multi-part names, Fred Smith, Burt Fry, etc.

ChronologyChecker is aimed at tracing the chronology of a novel. It extracts, into a separate file, all the paragraphs containing appropriate chronology-type words: Monday, Wednesday, Fri, Sat, April, June, 1958, 2017, etc. This file is then more easily searchable to look at the significance of the text for the chronology.

WordsPhrasesInContext tracks the occurrence of specific names through a novel. You give it a list of names/words/phrases, and it searches for any paragraphs in the novel that contain them. It creates a separate file of those paragraphs, with the searched element highlighted in your choice of colour.

CatchPhrase searches your novel for over-used phrases and counts how many times each phrase occurs.
​

Macros for when editing line by line
FullPoint/Comma/Semicolon/Colon/Dash/QuestionMark/ExclamationMark
These macros change
he said, you know ...
into he said. You know ... 
​or he said: you know ...
​or he said – you know ...
and so on.

FullPointInDialogue and CommaInDialogue
These two macros change
“Blah, blah.” He said.
into “Blah, blah,” he said.
and vice versa.

ProperToPronoun
This macro looks along the line to find the next proper noun, deletes it and types ‘she’. But if you then type Ctrl-Z, it changes it back to ‘he’.

MultiSwitch
You give this macro a list of changes that you might want to implement:
Jane
Jayne

Beverley
Beverly

that
which

which
that

When you click in a word, and run the macro, it finds your alternate and replaces it. It also works with phrases and can also provide a menu of alternates:

he said
he opined
he shouted
he voiced

she said
she opined
she shouted
she voiced

To access the macro scripts, download Paul's book.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

If you're looking for an online network of fiction and creative nonfiction specialists, the Association of Independent Publishing Professionals (AIPP) is worth checking out. I became a member earlier this year after being drawn to the organization's global outlook and creative niche. 

My guest today is ​AIPP co-founder Crystal Watanabe. Here's what she has to say ...

The power of private networking
​Being a freelancer can be an amazing experience. You get to work at home, you have no commute, you can work in whatever clothing you like, and if you’re an introvert, you really don’t have to talk to anyone.

That said, with those wonderful benefits usually comes the inevitable problem. Or worse, an irate client. Ask any editor who has been in business for longer than a year whether they have a Client from Hell, and the likely answer is yes. After all, we’re in the business of pointing out other people’s flaws. It’s a touchy subject for many.

Usually when something like this occurs, the foremost thing on a freelancer’s mind is to feel lost. Like you’re alone, and no one but you has been through such a terribly stressful ordeal.

This is where networking becomes an invaluable resource.

There are many networking options open to people working from home: Twitter, Facebook, Facebook groups, LinkedIn, and forums. But oftentimes these methods of communication are open to the public, and if there’s one thing to learn about airing frustrations online, it’s that you never know who is silently reading your negativity and judging you for it.

This is where more private modes of communication come in handy, and to find the most relevant and helpful discussion and advice on any problems that come up, a professional organization is more often than not the best place to go.

When I had my first problem client, I’ll admit, I was sobbing on my couch, feeling awful and alone. After I wiped my tears away, I went searching for people like me, and I ended up at the Editorial Freelancers Association. I joined, began interacting, and learned a lot from other members. But at the same time, I wasn’t sure the EFA was exactly what I needed.

The AIPP – focusing on fiction and creative nonfiction
I work primarily in fiction, and I found myself skipping over a number of discussions pertaining to a variety of other editing fields. In the end, I helped cofound the Association of Independent Publishing Professionals (AIPP) with fellow editors Anne Victory and Nikki Busch in 2016.

Starting an organization is no easy feat, but nearly two years later, we’re still growing.

The AIPP is dedicated to freelancers who work primarily in fiction and creative nonfiction, including both self-published authors and authors hoping to submit their manuscripts to traditional publishers.

Our membership includes but is not limited to:

• editors
• proofreaders
• formatters
• cover designers
• graphic designers
• website designers
• illustrators
• author assistants
• voice actors
• book designers

Membership benefits and fees
In addition to a wealth of wonderful benefits (discounts on Merriam-Webster, PerfectIt, Deposit Photos, 17Hats, FreshBooks, and more), the AIPP has introduced a new lower membership fee in 2018. Applying to the AIPP is just $45, including a nonrefundable $10 application fee. Renewal is just $35 per year.

Whether you’ve recently opened your business or have worked on more books than you can remember, the AIPP may be the right organization for you. Our members praise the sound advice given when problems arise and in general enjoy the feeling that they’re not alone.

Click on the button below to find out more about the AIPP. 

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Here's how to convert a Word document into EPUB or MOBI file format. This option certainly won't be for everyone, but if it suits you, you can master it in seconds ... and for free.

Many authors create their books directly in Microsoft Word because of its excellent suite of onboard styling tools and its compatibility with a range of plug-ins and add-ins (including macros). Pro editors love it for the same reasons.

​Once the writing, drafting, editing, and final revisions are complete, it’s time to publish. Is a Word file good enough for epublication? How about a DIY conversion to EPUB or MOBI? It depends on several factors:

• Your freebie plans
• Your budget
• Your sales and distribution platform
• The complexity of your interior design

Editorial assessment and freebies
Perhaps you want to send a review copy to a reader who has a Kindle. Or maybe you want to offer free ebooks for family members and friends. The devices your readers own will determine the required file format. Having your own EPUBs and MOBIs will give you flexibility beyond Word and PDF.

And if you're sending your book file for editorial assessment, your developmental editor might prefer to upload your book to their e-reader. They'll makes notes in the file in preparation for their final report or critique.

Doing the conversion yourself gives you the freedom to distribute your book without having to jump through the distributors’ hoops.

Your budget
How about if you’re making your book available for sale? Should you hire a pro formatter for your ebook interior? Yes, definitely, if you have the budget for it, because a pro formatter will do a pro job. The same applies to commissioning various rounds of professional editing. 

But let’s be honest – not every indie author has deep pockets, and some of you will have to make choices about where to invest your budget. It might be that a DIY conversion will suffice, and in that case Calibre could be your friend.

What is Calibre?
Calibre is free open-source ebook-management software. With it you can convert a Word file to an EPUB or a MOBI.

Go to https://calibre-ebook.com to download and install the software. There are versions for Windows and Mac.

Your sales and distribution platform
Smashwords
If you want to publish via Smashwords, Word is the preferred format. Here's founder Mark Coker:

​Make sure you follow the Smashwords guidelines on preparing your Word file, otherwise your published book will be a mess! Furthermore, you’ll risk not qualifying for inclusion in Smashwords’ premium catalogue, which gets your book in front of some big online retailers including:

• Apple iBooks store
• Baker & Taylor
• Barnes & Noble
• Flipkart
• Kobo
• OverDrive
• Oyster
• Scribd

If your interior is complex, Smashwords will accept EPUB files but they should be professionally designed. There’s further guidance in the Smashwords Style Guide.

Kindle Direct Publishing/Amazon
If you’re self-publishing via KDP, Amazon will create a MOBI for you from your word file. The same principles apply: as long as you follow the formatting instructions to the tee, and your book interior is straightforward, Word will suffice. Here’s where to access KDP’s  Simplified eBook Formatting Guide.

If your interior is more sophisticated, I’d advise you to hire a pro. Neither a Word file nor the DIY Calibre conversion offered in this article will do the job to a high enough standard.

Direct sales
If you’re selling direct from your own author platform, you can offer a PDF. But that’s not what every customer wants. PDFs look fabulous on tablets but awful on e-readers. If your customer wants something different, and you want to maximize sales opportunities, you’ll need another option. Calibre could be the solution.

The complexity of your interior design
​​If you have a primarily text-based Word file that will tolerate a simple heading structure for titles, part titles and chapters – as is often the case for fiction and narrative non-fiction – this quick-conversion method could work well for you.

If your interior design is more complex, I strongly recommend you commission a professional formatter (some editors also have formatting skills) to do the job on your behalf.

In my test, which involved a non-fiction Word file with multiple heading levels, a contents list, boxes, images and other design features, the conversion results for EPUB and MOBI were far from perfect, though I did find solutions when I was prepared to compromise.

Here’s how I messed up ... so you don’t have to.

​If you still think your Word document fits the bill, here's how to create your EPUB or MOBI file.

How to do the quick conversion
Open your Word document and save it as an rtf (Rich Text Format) using the Save As function (select Rich Text Format from the drop-down menu). Close the file and head over to Calibre.

Click on the Add books icon and select your rtf. ​

The file will upload to Calibre. Make sure your book file is highlighted, then click on the Convert books icon.

Now you can select and edit the metadata:

• The type of file you wish to create – I’ve chosen EPUB in this example (yellow box)
• The bibliographic details (green box)
• And your cover image (red box). Use the scroll bar (blue arrow) to scroll down and change the image file

Click OK. In the bottom-right-hand corner you’ll see the Jobs icon whirring.

When the conversion is complete, click on the new file format to check that all is well.

This will open the E-book viewer, and it’s one of Calibre’s top features because you can see at a glance what your reader will be looking at.

If you’re happy with your interior, save your converted file to your computer. It’s ready for upload and distribution.

Summing up
If you have a straightforward interior that’s text-based, this quickie Calibre conversion is absolutely worth experimenting with. And it’s free, so even if things don’t go to plan you won’t have lost any money – you’ll just have learned the basics of a new tool that you might be able to take advantage of another time.

​Poor formatting will earn you nothing but frustrated customers and bad reviews, so:

• Check the output on your own device before you offer it to the world!
• After you've uploaded your ebook to a third-party platform, check it again!

​
If your interior is complex, don't even think about using the method outlined here. Work with a pro. Professional eformatting isn’t a service I offer but I’m more than happy to put you in touch with colleagues who can help.

Drop me a line via my contact page or comment here on the blog.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Proofreading for publishers is something every professionally trained new entrant to the field should consider. Many of my experienced colleagues work exclusively for publishers. I used to and don't regret it for a minute.

And it can be profitable, despite what you might have heard.

Just a few of the benefits of publisher work include:

• Regular commissions
• Varied and interesting projects
• Big-name authors that'll make your portfolio stand out
• Testimonials that really count
• Industry experience
• Clearly defined service parameters

Some proofreaders are finding that publisher work is not as profitable as it once was. Perhaps the fees haven't increased in real terms, or the proofreader is being expected to check more words per paid page. Being efficient has become key to sustaining these valuable client relationships.

The PDF below includes some tips and tricks on how to make proofreading for publishers (and packagers) profitable by spicing up your digital efficiency. The advice is based on my experience of working for academic publishers for over a decade.

​Click on the image to download your free copy. I hope you find it useful.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Anna is training to be a proofreader and plans to set up her own business in the near future. She’s ready to upgrade her kit but wants to make sure her investment is fit for purpose.

Says Anna:

At the moment I am working on an old-ish MacBook Pro but know I need to upgrade very soon. The dilemma is whether to buy an improved laptop or move to a desktop. My preference is for Apple products as I know my way around them better.

​I’m tempted to get a better laptop. I like the freedom of being able to move around and I often travel. But I know that a desktop would give me a significantly bigger screen.
​
What are your thoughts on screen size for proofreading? How important is it to have a large screen, or is it easier to use two screens side by side at times? And if you use a laptop how small a screen would you consider too small?

Hi, Anna!

Great question. In short, I think you should go for what suits your lifestyle best. But let's look at some options.

The greedy option
This is my choice! In my shed, I have a desktop with two large screens. In my house I have a backup 14” notebook.

Some of my editing colleagues have three or four large screens rigged up to their desktops. That’s great if your machine can handle it (some can’t) and if you have the space (some don’t).

If I’m honest, until recently I considered it unthinkable to work five hours a day on my HP Pavilion notebook. My desktop and double screenage setup was a necessity! I suspect there's evidence of that thinking somewhere here on the blog!
​
But that’s hogwash.

In November, a family member became poorly and I had to relocate from my office (at the bottom of my garden) to the dining table in my house.

We’re now past the middle of January and I’m still there, though I’ll be heading back to the shed in a week.

But you know what? It’s been fine ... more than fine. Yes, I've had to toggle a lot more but that’s such a first-world problem!

And I do have a second screen! My pal and fellow editor Kat Trail told me about an app called Duet that allows me to hook up my Windows notebook to an an iPad ... MS to iOS. Who'd have thought?

And she showed off her new lap-desk.

Like a sheep, I bought the whole caboodle! It works like a dream. Thanks, Kat!

The light option
You say you like to travel. Meet Kate Haigh, another editor friend of mine. She’s location independent. She works with a laptop and nothing else. It gives her the flexibility and mobility she needs to travel the world. She’s in Guatemala City as I write!

Once upon a time, she had multiple large monitors, but she adapted. Given your itchy feet, you might like to read her posts about location-independent editing and proofreading (see the Taking Your Proofreading Service on the Road series via For Editors and Proofreaders section on the Kateproof blog). There are lots of tips and tools on offer for editors who want to lighten the load.

One of Kate’s favourite pieces of equipment is the lightweight, foldable Roost laptop stand

If you decide to commit to a new laptop but want an additional largish monitor, hook up your existing MacBook Pro or splash out on an additional monitor especially for home use.

What’s too small?
I’d recommend a screen that's at least big enough to house the full width of one page at a viewing scale that’s readable, with some room in the margins to spare.

That way you can call up a navigation pane in the sidebar without having to scroll across the page. Additional navigation panes could include the Find pane in Word or the Bookmarks pane in a PDF reader.

I can achieve this comfortably with my 14” notebook screen.

Beyond the screen: RAM and processor
I think that screen size is less important than RAM and a decent processor.

The more programs we’re running, the bigger the demands on our kit.

When we’re professionally editing and proofreading, we’ll likely have multiple files open simultaneously. We’ll be running Word and/or PDF readers. We’ll be using additional software (macros, for example) to complement our beady eyes. And there are online tools and resources (e.g. email, dictionary and style manual) that we’ll need to access.

Regardless of whether seeing all that stuff requires a quick keyboard toggle or is viewable on multiple screens, it’s greedy.

Focus on performance first and screen size second. Smaller screens can be adapted to. Poor processor performance and memory can’t – they're  just a frustration and will slow you down.

Back to my notebook: the screen is only 14" but it has an Intel Core i5 7th gen processor (not the highest spec but good enough), 8GB of RAM, and a 256GB SSD, all of which means the machine can fire on all cylinders while I'm putting it through its paces.

In a nutshell
You don’t need one large screen to do a pro job. You certainly don’t need three. You might well find them rather marvellous if you have room and are not looking to go anywhere anytime soon.

​But if they’re going to clutter up your living space and remain unused much of the time because you’re on the road, they’re a waste of your money.

Invest in the equipment you feel comfortable with and that works hard for you, and you’ll not go far wrong.

Good luck with your training! 

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Here are 5 ways to use audio to promote your book and create engagement with your readers.

This post featured in Joel Friedlander's Carnival of the Indies #88

‘Listening is active. At its most basic level, it’s about focus, paying attention.’ Simon Sinek​

Does sound still engage? It does – audiences still absolutely love sound because they can do something else at the same time. Food for the time-hungry! 

I’ve deliberately not included audio books or podcasting. They’re both valuable ways of delivering your book and the story of your publishing journey, but need scaled-up levels of expertise, planning, equipment, time and money.

I’ve also excluded options that involve video – we’ll look at them in other dedicated resources (e.g. video book trailers, and online video launches). Today is all about sound!

​1. Narrate your own sample chapter
Narrating a chapter of your book is a lovely way to offer your fans the personal touch – for no other reason than they get to hear your voice. It’s a phonic version of Amazon’s ‘Look Inside’!

And it’s a totally different kettle of fish from a full audio book …

In Audio Book Production: A Primer for Indie Authors from an Audio-Book Producer, Ray Greenley, a professional voice narrator, explains how easy it isn’t to create a high-quality audio book yourself – one that’s fit for market and done to the highest standards. The equipment, the noise dampening, the time, the fluency, the editing – the author who takes on all of that has a will of iron and more than just a talent for writing. Narrating is, after all, a very different skill to writing.

With a sample chapter, though, you don’t need to worry about any of that. It’s a taster, a way for your audience to enter the world you’ve created via the sound of your voice. And because you – the author – are providing all the emphasis and tone of voice, listeners know they’re experiencing the world you created exactly the way you intended it.

They’ll even forgive you if you stammer, or mispronounce a word, or stumble halfway through a sentence and have to go back to the beginning. They’ll forgive you if the dog barks, or a siren wails, or your office chair squeaks … because you’re engaging with them, speaking to them.

Don’t get me wrong, it has to be listenable. If it’s such poor quality that the sirens, dogs, and stumbles are so frequent that the sample is painful to engage with, you’ll do yourself no favours. But a little blip here and there is fine.

Audio samples, like written ones, are gifts from you to your reader. They’re charming, and generous, and your fans will love the fact that you’ve taken the time to record one for them.

I asked my own marketing coaches and some of my colleagues what they use to upload audio to their websites. SoundCloud got an overwhelming thumbs-up. There’s a free option, too.

A YouTube video with a thumbnail picture would be another option. If you’re uploading natively to your website this could slow down load times so, instead, embed a link and host the content on your YouTube channel. In case your audience clicks through to YouTube, make sure you include all the relevant book-buy links under the video on your channel. Be sure to include captions for those who choose to engage with the sound muted (it happens … a lot!).

You don’t need an expensive mic either. I have a Blue Snowball, which works brilliantly, looks charming, and came in at under fifty quid. I chose it because I wanted something decent that would allow me to create video without being encumbered with a headset. However, if you’re just doing audio, you can probably get away with a headset/mic system for under £25. Try different options and see what gives the best results.

2. Giveaways – usable audio content
For non-fiction, you could take the audio sample to the next level. Give away an audio version of one chapter of valuable, usable content – something your listener can actually solve a problem with.

This is a powerful offering and goes well beyond the plot taster of a novel.

For example, imagine you’ve self-published a marketing book for small businesses. One of the chapters is dedicated to Pay Per Click (PPC). The chapter outlines the principles behind PPC advertising, and offers guidance on which businesses would or wouldn’t benefit from this strategy, and why.

You create an audio version of this chapter – and because it’s something that your target audience can listen to and use to make informed decisions about an aspect of their digital promotion strategy, they’re compelled to buy the written version and extract all your words of wisdom!
​
In this case, you’ve repurposed valuable business content but in a deeply personalized way. 

3. Host a live sound event
Readers love live author events. The Norwich branch of Waterstones has hosted a stack of live author readings. I’ve been to see Garth Nix, Jonathon Pinnock, and Alison Moore.

With an audio-only version, you’re recreating the feel of a radio author event because the audience gets to talk to you afterwards and ask questions. Ideally, you’ll want the stream to be recorded so that it’s available as archive content afterwards.

Daniel J Lewis, in ‘New live streaming options for podcasters’, says, ‘Maybe you want all the interaction and accountability of live-streaming, but you don't have the technology or bravery for video. That's when an audio-only live stream can be a great choice. It also makes a good option for those with lower bandwidth.’

So what are the options?

Mixlr and Spreaker are Lewis’s recommendations for those looking for lower-cost solutions.

Another option is using the audio-only option of Facebook Live. This has slightly less flexibility in that all the engagement with your listeners will take place in the comments below. Still, this could have some advantages in that you have a record of what people are asking, and if you don’t have time to handle all the questions, you can join in the written discussion later.

Live audio streaming is public and, obviously, live. You don’t get to edit if things go wrong … which is great because it adds emotion and excitement to the event, but requires a little courage. Make sure you have some friends in on the gig who have your back if you’re new to this type of engagement.
 
One of the best things about reader-facing author events is that fans can get a signed copy of the book. In the digital world, this is tricky.
​
How about this as an alternative? Get some promo postcards printed; the front will feature your book’s cover. At the end of the show, invite people to email you with their postal addresses if they’d like to receive a signed postcard with a personal message or dedication. You could team this up with an invitation to join your mailing list so that they don’t miss out on future events.

4. Broadcast an interview
This requires more effort but it’s worth it because it allows you to talk about the journey of your book and your journey as a writer.

You’ll need an interviewer and a script.

It’s tempting for the inexperienced sound eventer to think that a script will detract from the flow and authenticity of the broadcast. It won’t. A script ensures everything stays on track, that the questions and answers are remembered, that neither of you ramble off on a tangent or fall off a pregnantly paused cliff.

You could do a swap with a fellow author, perhaps someone from your writing group – you interview them and they return the favour. That way you both get to promote your books and share your thoughts on the challenges and joys of writing and self-publishing.
​
Again, SoundCloud is a good option here (or YouTube).

5. Audio sign-up requests
In ‘9 ways to use audio’, digital marketer Steve Cartwright asks: ‘When your target audience clicks to get more information for your products and services, do you think it would make a difference if you were actually talking to them with your voice to explain what you have to offer?’

Most of you are probably already building your mailing list. Perhaps you include links at the end of your written books, blog articles and website book pages that encourage people to sign up to your newsletter. This is the perfect place to test whether you can increase your sign-rates by using your voice to ask your readers to join the party.

If you’re not building a mailing list, consider these wise words of experience from full-time, self-published crime writer Jeff Carson:

‘I have a newsletter email list. This is one of those things I heard people preaching but never did anything about. It took me four freaking books to finally put my email list in place. But I finally did, and that’s when I was finally able to write full time. It only took two days to write and publish a short story, which I give away on my blog as a thank-you if somebody signs up for the new-release newsletter. Now, when I have a new release, I launch the book to thousands of people, versus dropping it into a field of crickets.’

How about doing the same thing, but asking people to join that newsletter with your voice?

Other things to consider with audio

• If you fancy adding some animation to your audio, take a look at the Music Visualisation Video Creator.
• Don’t forget to include discount coupons and book-buy links under your audio stream, wherever you host it.
• Always include a call to action, so your listener knows exactly what you want them to do.
• Be available to your readers – let them know how they can contact you.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

How to write children's books: what the experts say
A member of my writing library asked if I’d created a resource hub on writing books for children. I hadn’t, so I did!

Some of the articles and books I’ve listed were published prior to the digital transformations that have taken place in the mainstream- and self-publishing industries, so the technical guidance may be a little out of date. However, the underlying principles behind the craft of writing are just as relevant today as they were a decade ago, which merits their inclusion.

If I’ve missed out something that you think is core reading for children’s book writers, let me know and I’ll add it.

The PDF includes links to the following:

• Guidance on markets and genres
• Books on how to write for children
• Podcasts on children's writing
• Organizations and resource hubs about children's writing
• Courses (distance learning/correspondence and workshops)
• Blogs and articles 

Children's Books: Resources on Writing for Young People is available for immediate download. Click on the image below.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Available now!
Social Media for Business Growth shows you how to use social media platforms to increase your visibility, expand your audience, reinforce your brand and generate leads ... without falling into a rabbit hole and without spending any money.

This is the first course in the Craft Your Editorial Fingerprint series ... online marketing classes that enable editors, proofreaders, indexers, translators and other wordy folk to develop a compelling and recognizable business presence.

The social media kit
You'll receive access to a social media fingerprint kit comprising:

• a recorded webinar (1 hour 50 mins)
• a 92-page ebook
• a PDF tip sheet
• a 14-page PDF strategy checklist
• quick-access links to related materials
• additional video tutorials exclusive to Fingerprint students
• a 20% discount coupon

No limits on access
Some online courses restrict the period of access to the materials. I think you should be able to choose when you study. 

After you've bought Social Media for Business Growth you can access the class whenever you wish ... whether that's immediately after you've created your login or 8 months down the road.

And for your convenience, you can download the supporting PDFs to multiple devices, multiple times ... whatever works best for you. Just log in, watch, click and grab whenever you like.

On-demand tutorials ... at no extra cost
My training approach is dynamic. Here's how it works ...

Each course comes with additional tutorials available exclusively to Fingerprint students ... videos that show you how to use some of the tools I refer to in the training.

​However, the content will expand over time. So if there's something else you need that's directly related to the course, I'll create a custom walk-through, visible to you and any other student who's bought the class ... but none of you will pay a penny more.

And because there are no time restrictions, you'll have lifetime access to an ever-expanding library in which to achieve your goals.

For more details about the class content, or to sign up, go to Social Media for Business Growth.

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

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

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.