|
Every editorial report we write for our authors should achieve 7 goals. Some benefit us, some benefit our clients, but they’re all connected. If you feel your report-writing skills could do with a boost, use this goal-based framework to pep things up.
Let's look at the goals in brief; then we'll dig deeper.
Goals that benefit the editor
Goals that benefit the client
Efficiency means achieving the three goals that benefit the client without compromising on one iota of quality and without damaging our productivity. We are in business, after all.
Creating detailed editorial reports can eat into an editor’s hourly rate. It’s easy – even for experienced sentence-level editors – to omit the time for report-writing when creating a quote; I’ve done it myself. We focus on the number of words per hour we edit, based perhaps on a sample. Or perhaps we have included the report-writing component in our calculations but the author wants to negotiate on price. Every efficiency we incorporate allows us greater choice about whether to accept or reject a client’s proposal. Goal 2: Demonstrate editorial excellence
Our second goal is to demonstrate editorial excellence. Those of you who are members of a national editorial society might well be bound by a code of practice that demands this.
That’s the case for members of the Chartered Institute of Editing and Proofreading (CIEP), which says in its CoP: ‘Good communication between client/employer and freelance/employee is essential.’ Editorial excellence isn’t just about being an expert in typo hunting, grammar correction and stylistic revision. Neither does it end with clarity on the project brief or issues of privacy, confidentiality and security. It’s also about communicating the why of our edits. Comprehensive editorial reports are the perfect communication tool, and the reason why we shouldn’t skimp. Goal 3: Build trust
When we communicate the why of our decisions, we build trust.
If a client is anxious about how we’ve edited their work because they don’t understand the changes we’ve made and/or because we’re new to them, trust is low. Part of our job is to earn it. A comprehensive editorial report that demonstrates a deep knowledge of our craft creates author confidence. And that’s the key to a healthy business relationship. Goal 4: Compel future commissions and recommendations
A client with a detailed editorial report that demonstrates excellence and builds confidence in your ability is more likely to do the following:
Now let's look at the benefits for the author. Goal 5: Offer a comprehensive learning tool
Our fifth goal is to provide our authors with an outstanding learning tool, rich in problem/solution-focused detail, which they can use to hone their writing craft.
The independent-author market is huge, and many in the community lack experience – they’re right at the beginning of their writing journey. They might well have talent by the bucket load but the line work we do is nevertheless extensive. An editorial report gives us the chance to offer our guidance in a format that’s accessible and clear. And because it’s separate from their book file, they can refer to it time and again. A comprehensive learning tool includes strengths, too. Writers can learn as much from knowing what they’re doing well – and should continue doing – as from knowing how they can up their game. Goal 6: Take a mindful approach
Our penultimate goal is to show mindfulness. As editors, we can never forget that every one of our author clients has a choice – and they chose us. They also have a passion – their book.
It takes commitment to write a story, and sometimes not a little courage to place it in the hands of a professional editor, particularly one they haven't worked with before. That decision comes with risk. For the editor, being selected is a privilege rather than an entitlement. We must respect that choice, the risk taken, and their investment (time and money). Yes, we should report on weaknesses; that’s how they’ll improve their sentence-level craft. But we must do so gently and respectfully, and complement that analysis with reflection on their strengths. Goal 7: Provide a solution-based critical review
Many indie-author book files end up in our editing studios without having been evaluated by a developmental editor, a critiquing editor, an experienced beta reader or even a colleague or friend in a writing group.
Our reports need to offer a critical review that explores the book’s sentence-level strengths and weaknesses. What’s essential is that we offer solutions to any weaknesses we identify. Without those, we risk creating a shopping list of what was good and what wasn’t. That kind of analysis won’t help the author grow as a writer. Neither will it reflect our editorial excellence. Want to learn how to do it, and love it? If you’re a sentence-level editor and think your reporting skills could do with a boost, or a new editor who wants to nail it from the start, take a look at my new course, How to Write the Perfect Fiction Editorial Report. The course will be available in April 2020.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
2 Comments
Writing or editing in Microsoft Word on a PC? Save yourself time by learning these 27 keyboard shortcuts. If you don’t want to learn 27, learn just the first one: Save!
CLICK ON IMAGE TO DOWNLOAD A PDF
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Macros enable us to edit faster and more consistently. For professional editors, that means a higher hourly rate, a more consistent output, and a happier client. If you want to use macros but don’t know where to start, read on.
Which macros, and when and why?
Which macros should you use? How does the Paul Beverley macro suite fit with an application such as PerfectIt? What should you use when? No one’s the same. We edit different subject/genres, carry out different types of editing, and have different styles of working. There’s no one size fits all. A conceptual approach, however, can help us decide which tools to use. Analysis: Tasks versus goals A task-centred analysis focuses on what we plan to do and deciding what tools will help with these stages. Thus, in the free book, Macros for Editors, I offer smorgasbord of macros that speed up a variety of specific tasks. However, when we look broadly at what we’re trying to achieve, we may discover different ways of working and different tools – new tools, maybe – that can help. One such contribution to this approach is the Alyse suite – analysis-type macros (DocAlyse, HyphenAlyse, etc.) that provide an overview that reports on the likely inconsistencies in a document without our even having to look at the files. 
Computer-aided editing: Teamwork
Think of computer-aided editing as teamwork – you and the computer working together, each playing to your own strengths, with a single aim: to improve communication between author and reader. A computer brings the following to the team:
On the downside, it lacks the ability to look beyond the data. It has no idea of meaning, significance, attitude, feelings – only humans can provide that. Mechanics versus meaning Editors spend a lot of time eliminating inconsistencies in the following:
This is the mechanical side of editing. Editors also spend a lot of time focusing on meaning. It matters little how consistent a document is if the meaning is clouded. Obscure the meaning, and communication between the author and reader is impeded. Using macros and related applications enables the editor to delegate some of the mechanical work to the computer – those mundane data-led tasks – and focus their minds on communication. A possible workflow Here’s one way it might look:
Here are the macros you might use in that workflow:
If you’re a PerfectIt user (see the Intelligent Editing website), you could use that instead at stages (3) and (5). Or continue to use FRedit for (3) but use PerfectIt for (5). The latter is a possible best-of-both-worlds approach if you like the idea of having two different tools, each working to spot errors that the other might have missed. False positives False positives are to be expected with any computer tool. We can reduce them by refining the FRedit changes list and PerfectIt’s style sheets. For best effect with global change macros, apply them to one chapter at a time, making adjustments that will make it more effective in succeeding chapters. Summing up To access all my line-level and analysis macros, download the free book. You can also watch almost 100 video tutorials on my YouTube channel. And if you want to know more about PerfectIt, visit the Intelligent Editing website. Please feel free to email me with suggestions and/or questions about macros.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise offer some quick tips on formatting your Word file ... final tidy-ups to get your file in shape, and that accord with mainstream publishing standards. And there's a free PDF that includes all the search strings we talk about (or try to)!
Click to listen to Season 2, Episode 6
Click on the image below to download the free booklet and grab all those search strings we try to explain! 
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Editing bites
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button Denise and Louise
Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise talk about 10 editing macros that will save you time and improve the quality of your writing.
Click to listen to Season 2, Episode 5
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Other ways to listen
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Summary
Listen to find out more about:
Editing bites
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise talk with Daniel Heuman, founder of Intelligent Editing and developer of PerfectIt – consistency-checking and style-enforcing software for editors and writers.
Click to listen to Season 2, Episode 3
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Summary
Listen to find out more about:
Find out more about PerfectIt
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button Denise and Louise
Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise discuss how to prepare your book file for editing ... whether you're doing it yourself or working with an editor.
Click to listen to Season 2, Episode 1
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Summary
Listen to find out more about:
Editing bites
Other resources
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button Denise and Louise
Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Are you spending too much time on your novel’s text design? Here’s how to use the Styles function in Microsoft Word to ensure the various elements are formatted consistently.
In this article, I’ll walk you through the following:
What is the Styles tool? The Styles tool allows you to apply design consistency to the various text elements in your book. In a novel, you might want to create different styles for the following:
Microsoft Word has a handy suite of on-board styles, though it’s unlikely they’ll match your specific requirements. Modifying these is still a little quicker than creating fresh styles so take a look at the properties and work out what you’ll retain and what you’ll change. What properties can you influence? You can influence every property of your text when you assign a style to it. However, in a novel, you’ll most likely focus on the following:
How to access the Styles tool There are two ways to access the Styles function onscreen:
The gallery in the ribbon offers a preview of how the style appears. If I’m working with a lot of different text elements in a document, I find these visual clues useful when I want to locate a style quickly.
On smaller screens, less of the Styles gallery will be visible. To access the previews of all the styles in your gallery, click on the MORE arrow (circled). 
A new window will appear containing the full gallery.
Why you should format with styles
Using styles gives you control over design, consistency and formatting time. Time is money, so when you do the job instead of asking other professionals to do it, your book budgets goes further. Perhaps you can invest a little more time or money on cover design, sales and marketing, or learning how to improve writing craft. Can you format manually? Of course, but you could be making a lot of unnecessary work for yourself. Scenario 1 You complete the writing, drafting, and editing, and get cracking on designing the layout. Now that there are 85,000 words in place, your thriller’s looking more like a textbook thanks to the font you’ve chosen for your main text: Arial 14. A serif font like Times New Roman would be easier on your reader’s eye. The problem is, you can’t select all the text in the file with CTRL A and change it in one fell swoop because that would affect the chapter headings and the emails your transgressor is sending to the police, all of which are formatted differently. Instead, you have to work through the file, locate the main text elements manually, and change the font. If, however, you’ve assigned a style to your main text, you can modify that font property in just a few clicks. The change will automatically change all the main text, and only that element, to your new font. Further down, I’ll show you how. Scenario 2 You’ve written 12 additional paragraphs for your book but they’re in another document. You copy and paste the writing into your book file. Now you have to manually format the new sections so that they match the existing work. If you’ve assigned styles, however, it’s as simple as cut, paste and left-click. Job done. How to create a style There are several ways to create a style in Word:
1A. Manual method Open the styles pane and left-click on the A+ button in the bottom-left-hand corner. 
A new window will open (CREATE NEW STYLE FROM FORMATTING). Now you can give your style a name (1) and assign properties to the font, paragraph spacing and page flow (2 and 3).
1B. Manual method B
Alternatively, right-click on a piece of text that’s already formatted according to your preferences. A mini toolbar will appear. Click on the Styles button. 
A new window will appear. Left-click on CREATE A STYLE.
Name your style, modify if you wish, and left-click OK.
2. Updating method
Select a piece of text that’s already formatted according to your preferences. Now head up to the Styles gallery in the ribbon, or the Styles pane, and right-click on an unused style that you’re happy to update. Hover over UPDATE [STYLE] TO MATCH SELECTION, then left-click. 
How to modify a style
There are two ways to modify a style in Word:
1. Styles gallery Go to the Styles gallery in the ribbon and right-click on the style you want to modify. 
Left-click on MODIFY and amend the properties of your style. Note that this will change every piece of text assigned with that style.
2. Styles pane
Go to the Styles pane on the right-hand side of your screen and right-click on the style you want to modify. 
Left-click on MODIFY and amend the properties of your style. Again, bear in mind that this will change every piece of text with that style assigned.
How to assign a style to an element of text If a piece of text isn’t formatted correctly, left-click the cursor on a word or in a paragraph, or select it by double-clicking. Now head up to the Styles gallery in the ribbon, or the Styles pane, and left-click on the preferred style. Your style will be assigned. If you’re working on a smaller screen, you’ll probably find it easier to use the Styles gallery in the ribbon because it takes up less space than the Styles pane. To close the Styles pane and free up some screen real-estate, left-click on the X in the top-right-hand corner. 
Troubleshooting
Here’s how to fix some of the more common problems that arise when working with styles. 1. Styles gallery or pane isn’t visible If the Styles gallery isn’t visible, make sure you’re in the HOME tab in the ribbon. 
If the Styles pane isn’t visible, left-click on the small arrow in the Styles gallery.
2. Style not showing in gallery
If you’ve created a style and it’s not showing in gallery, head to the Styles pane and right-click on the missing style. This opens the MODIFY pane. Make sure that the ADD TO THE STYLES GALLERY box is checked. 
3. The gallery is cluttered with unused styles
If your gallery is busy with styles you don’t need to access, there are two ways to remove them. The quickest method is to right-click on an unwanted style, then left-click on REMOVE FROM STYLE GALLERY. 
An alternative is to right-click on the unwanted style and left-click on MODIFY. Then uncheck the ADD TO THE STYLES GALLERY box.
4. You’ve renamed a style but Word’s default name is still displayed in the pane
If you’re using the Styles pane to apply styles, the list might appear cluttered if Word’s default names are displaying, even though you've modified them. To fix, left-click on the OPTIONS button. 
Check the HIDE BUILT-IN NAME WHEN ALTERNATE EXISTS box, then left-click on OK.
Your list will now display with your modified names.
Heading styles and navigating your Word file
One of the advantages of using the Styles tool for a novel is navigation. To access the Navigation pane, press CTRL F on a PC. Now, left-click on the HEADINGS tab. Any style based on one of the in-built heading styles will show up in the menu. 
I use this function when I’m editing and want to check that chapter headings (and subheadings) are formatted consistently, assigned the correct level of priority, and numbered chronologically.
Headings with arrows next to them indicate lower-level subheadings. You can expand or collapse subheadings by left-clicking on the arrows. Furthermore, if you want to shift a headed or subheaded section to another position in your document, left-click on the relevant heading and drag up or down the menu. Summing up Styles let you focus on your writing rather than fretting about internal text design. Applying a style to an element of your book file takes a fraction of the time required for manual formatting. And because any style can be tweaked, you get to change your mind as often as you like. If you have any problems with using Word’s Styles gallery and pane, drop me a note in the comments and I’ll do my best to fix the issue. Fancy watching a video tutorial? Visit my YouTube channel and watch: Self-editing Your fiction in Word: How to Use Styles.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise discuss the order of play for the different levels of editing, and some ideas about how you can keep costs down.
Click to listen to Episode 9
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Summary of Episode 9
Listen to find out more about:
Editing bites
Other resources
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License: http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this article, I offer 12 tips on how to make your book file editor-ready.
Interior book design is something that should be carried out after your book’s been edited, not before.
If you’re creating a printed book, post-design page proofs are perfect for the proofreader because they can check not only your spelling, punctuation and grammar but also the layout. Page proofs are either hard-copy or PDF versions of the book that are laid out exactly as they will appear in the final printed version. You and your proofreader will be looking at what the reader would see if they were to walk into a bookshop, pull the title off the shelf and browse through the pages … almost. The proofreader’s job is to ensure that any final errors and layout problems have been attended to before the book is printed. For a comprehensive overview of what needs to be attended to when proofreading designed page proofs, read this: Proofreading checklist: How to check page proofs like a professional. 
With copyediting (and proofreading raw-text files for digital books), it’s a different story ...
Working with raw-text files If you are asking a professional editor to work on the raw text of your book, follow these 12 recommendations to ensure that the file is editor-friendly. The good news is this: it means less work for you, not more, because you’re not having to design anything … not yet, anyway. 1. File format Most professional fiction editors work in Microsoft Word. That’s because, despite the odd glitch, it’s still the best word-processing software on the planet. It has a range of excellent onboard tools that help your editor style the various elements of your text consistently, and quickly locate potential problems that might need fixing. Word is compatible with a host of macros that complement the editor’s brain and eye. That means they can add an extra level of quality-control to the edit efficiently. Even if you’ve written your book in a different program – for example, Scrivener, Google Docs or Apple Pages – place the text in a Word file before you send it to your editor. You’ll get a better-quality book edit, I promise. 2. Number of files Unless you’ve agreed with your book editor to work serially – i.e. on a chapter-by-chapter basis – create a single master file that contains the full text of your novel. If you send them 75 separate chapters, all they’ll do is combine them into one file … after they’ve finished weeping with frustration. Editors want to ensure that your book is consistent – that Kathyrn doesn’t become Katherine, Catherine or Cathryn. There are Word plug-ins that can help them identify problems like this efficiently but they’re only effective if the editor is working with a single file. The same applies to ensuring that the various elements of your text are formatted consistently. For example, it’s conventional for the first paragraph in a chapter or section to be full-out (not indented). Your editor can use Word’s styles palette to define the appearance of a first paragraph. Once the style has been set, it’s a case of applying it to every relevant paragraph in the file. If they don’t have a master file to work with, they’ll have to create a new style for each one of your 75 chapters or import that style for the same. Fiction editors love master files, and they will love you if that’s what you provide. 3. Fonts You might have decided to use an unconventional font for your book interior. You’re perfectly entitled to use any font you choose ... just spare a thought for your editor’s eyes. When it comes to the editing stage, stick to something like Times New Roman, size 14. It’s a serif font, which means it’s easy on the eye. The less your editor struggles to read the text, the better the quality of their work. 
4. Colours
I recommend you use black text on a white page. Again, it’s about readability. The white text on the coloured blocks below certainly stands out, and the contrast is visually appealing, but for editing purposes it’s a challenge. 
A couple of years ago, I was asked to copyedit a fabulous book for an indie author. The pages were black, the text pink. The first thing I asked him – no, begged him – was for permission to change the file’s appearance to something more conventional.
He agreed to save the quirky colourway for the design stage and I was immensely grateful. So was he. I’d have had to increase my price because I would have edited more slowly. 5. Paragraphs Open any novel on your bookshelf and it’s likely you’ll see a text layout something like this: 
Those indented paragraphs are not made using the tab key. Instead, use Word’s ribbon to create proper indents.
To find out how to create a body-text style with proper indents, watch this video tutorial: Self-editing your fiction in Word: How to use styles.
6. Spacing At line and copyediting stage, don’t worry about how many pages your text covers. Instead, give your editor a file with the lines spaced so that the text is easy to read. Setting the line spacing at 1.25 or 1.5 works well for a font size of 12 or 14. The line spacing function can be located by right-clicking on text and selecting PARAGRAPH. A window will open. Make sure you’re in the INDENTS AND SPACING tab. Then amend the LINE SPACING field. 
7. Chapter headings
Your editor will adore you if you assign your chapter headings with one of Word’s heading styles: 
You can even modify the style so that it automatically starts on a fresh page.
Right-click on the heading style, select MODIFY, then FORMAT, then PARAGRAPH. A window will open. Make sure you’re in the LINE AND PAGE BREAKS tab. Check the PAGE BREAK BEFORE box. 
Why is this useful?
8. Page numbers
In a raw-text work of fiction, there’s no need for page numbers or other headers and footers. Word records the page number in the bottom-left-hand corner of the screen of a PC, and that’s what an editor will refer to if they need to direct your attention to a specific page. 
If you plan to upload a later version of your file for ebook creation, your page numbers will need to be removed anyway.
If you’re printing, save the page numbering for design stage. 9. Section breaks I recommend introducing three asterisks (***) to indicate a section break. You can change them at design stage of course, but they’re handy at editing stage because your editor can see that you intend for there to be a section break. Why not just have a line space? Because sometimes a writer will accidentally hit the return button twice. Your editor will have to spend time working out whether the break is intended rather than focusing on the flow of your text and any errors that need correcting. 10. Pictures/images If your editor needs to check copy against images and their captions, consider placing these in a separate file. Images, especially high-resolution ones, will increase the size of your book file massively, and slow down refreshing when the editor saves. And your editor will save once every few seconds. Sounds bonkers, doesn't it? But the editor who doesn't save regularly is the editor who finds they've lost a precious half-hour's worth of editing because there was a power cut, or a hurricane, or the oven exploded, or whatever. And when they come to email your edited file full of hi-res images, it will be so huge that they'll have to use an external cloud-based transfer service. The file will take an hour to load (unless they have rubbish broadband speed, in which case it will take two or three hours). They'll do the transfer in the evening so that it doesn't slow them down while they're working, meaning their teenage kid will start moaning and giving them that look because Netflix is buffering or Minecraft won't load, or something equally devastating. Save us, I beg you. 
On top of all that, amendments, deletions, and additions to the text will cause your carefully placed images to shift into spaces you didn't intend. Better to leave image placement to interior-design stage. It'll save you and your editor time and tears.
11. Manual tables of contents If you've created a table of contents in a Word file prior to copyediting, there's a good chance that a chunk of your page numbers and some of the chapter titles will be wrong by the time your editor has finished. Of course, you can pay them to fix these too. But that could add an extra hour's work onto your bill. Worse, you'll be wasting your money because when the book's interior is designed, everything will change again. I know this because when I proofread for publishers (and that means I'm working on designed page proofs that have been edited multiple times and designed by a professional interior formatter) the table of contents is always messed up. Sort out your table of contents before you do your final design, not at copyediting stage. It'll save you money, I promise. 12. Manual index I'm adding this one in for non-fiction writers, just in case you're reading. If the page numbers against a table of contents get messed up during copyediting, the damage to an index is nothing short of catastrophic. It's not just the page numbers, but the indexed entries too. Spellings might change, so might compound hyphenation. Some key terms will have been removed or changed. Others will have been added. Indexing should come after proofreading, ideally, but certainly not at copyediting stage. Summing up These are just suggestions, not book law, editing law, any kind of law. However, your editor will love you if you make life easier for them, not because they’re lazy but because they want to focus on making your narrative and dialogue sing rather than formatting text so that it’s readable. There’s absolutely a time and a place for great interior design, but pre-editing stage is not it. Save yourself the bother and keep it simple. For more raw-text tidy-up tips, grab this free booklet: The Author’s Proofreading Companion. 
Fancy watching a video instead? Here you go!
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
There's a new podcast in town ... or there will be in January 2019! And it's all about editing and writing for indie authors.
What is it and who is it for?
Editing your book is essential, whether you do it yourself or work with a pro. This podcast will explore ways in which independent authors can make their publishing journeys easier. If you want to learn how to improve your writing and self-editing with tips, tools and guidance, The Editing Podcast is for you. Who are the hosts? Denise Cowle and Louise Harnby are your hosts. We thought it would be fun to have two of us talking with each other rather than one of us talk at you. Plus, we have different but complementary specialist experience, which means we can cover more topics with authority. Why should you bother listening? Because we really do know what we're talking about!
We have a lot in common! Having said that, our editing passions have gone in different directions. Denise is a non-fiction editor while Louise is a fiction specialist. That means we can ensure the episodes are balanced, and of value to indie authors regardless of subject or genre. What we'll be talking about We currently have over 50 topics lined up for discussion. Here's a selection that will give you a flavour of what's in the pipeline:
When and how often will we air? Season 1 of The Editing Podcast will air weekly from January 2019. Each season will include 10 standalone episodes of complementary topics. That means you can listen to them when you want and in the order of your choosing. You'll be able to access the podcast via Apple Podcasts, Spotify, YouTube, our websites, and a number of other well-known podcatchers. Get in touch or subscribe We’re really looking forward to making your writing and editing life easier! To stay in the loop, visit The Editing Podcast’s Facebook page and subscribe to our YouTube channel. And if there's a problem you'd like us to solve on the podcast, get in touch.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
If the thought of punctuating your novel’s dialogue brings you out in a sweat, let me mop your brow with these 7 tips.
In this article, we'll look at the following:
If you prefer watching to reading, there's a complementary video series on my YouTube channel that covers each of the 7 sections in turn. 
1. Indicating speech
Quotation marks – or speech marks – are how authors usually indicate the spoken word. There are two choices – singles or doubles. Either are acceptable. In US fiction publishing it’s more common to use doubles; in British fiction singles dominate. That doesn’t mean you must use doubles if you’re an American author or singles if you’re a British author. It’s not about right or wrong but about style, preference and convention. Think about what your reader will expect to see and what’s standard where you live. The Chicago Manual of Style (CMOS) recommends doubles, but acknowledges that the convention is for singles in the UK and elsewhere. The most important thing is to be consistent and never use two single quotation marks instead of a double. The following passages from published works illustrate each style:
Nested quotation marks
Sometimes you’ll need to place speech within speech (or quotes within quotes). To differentiate the speaker, use the alternate style for your internal or nested quotation marks:
Smart vs unidirectional marks
It’s conventional in mainstream publishing to use smart or curly quotation marks, not unidirectional ones. (The same applies to apostrophes, by the way.) 
Some online fonts (like the one I use for the body text on my website) don’t do a good job of differentiating smart and unidirectional quotation marks, but word-processing software like Microsoft Word does – even with sans serif fonts.
To prevent the problem occurring from the minute you begin typing:
If you’ve pasted material into your book from elsewhere, or you didn’t check autocorrect options before you began typing, there might be some rogue unidirectional marks in your file. To change them quickly, do a global find/replace:
Alternative speech-indicator marks
An alternative way of displaying speech is via the em dash. This method can get messy if you have more than two speakers in a conversation, so use it with care. The em is the longest in the dash suite. In the image below (1) is a hyphen, (2) is an en dash and (3) is the em dash. 
Sylvain Neuvel uses this technique in Sleeping Giants, the first book in the hugely enjoyable Themis Files series.
While some chapters in the novel use standard quotation marks, most are case-file chapters that are entirely composed of dialogue between a known character and an agent who plays a key part in the story but remains anonymous and elusive to us throughout. Each speaker’s turn is indicated with an em dash. The agent’s speech is rendered in bold. If Neuvel had chosen the standard route, he’d have been forced to use clunky speech tags such as ‘the agent said’, and even reveal the agent’s gender to mix things up a little. Instead, the chapters are compelling, mysterious, but cleanly and tightly delivered. Here’s an excerpt from p. 104:
Same speaker; new paragraph One final word on quotation marks. If you want your dialogue to take a new paragraph while retaining the current speaker, use a quotation mark at start of the new line but omit the closing one at the end of the previous paragraph. This example from Jo Nesbo’s The Bat (p. 251) illustrates the convention:
2. Trailing-off and pauses in speech The ellipsis is used to indicate a pause or speech trailing-off at the end of a sentence. Here’s an excerpt from At Risk (p. 434) by Stella Rimington:
Notice how Rimington doesn’t also tell us that the character’s voice has trailed off, which would be unnecessary clutter. Here’s how it might have gone if she hadn’t trusted the ellipsis to do its job and her readers to understand that: She shook her head, her eyes unfocused. Then, draining her pint glass, she nudged it towards him. ‘Could you …?’ Jean said, her voice trailing off. ‘Yeah, sure.’ Here are examples from Sleeping Giants (p. 204) and At Risk (p. 434) where an ellipsis is used to indicate a mid-sentence pause:
SLEEPING GIANTS
‘We discovered it can also be used as a weapon. It took another hole – in the wall, this time – to figure that one out, but the edge of the shield is very sharp … if you can say that about light.’ AT RISK ‘Well … He walked out on us years ago, when I was a boy, so he can’t ever have really cared for us.’ The spacing of ellipses CMOS asks for three full stops (or periods) separated by non-breaking spaces (1). Non-breaking spaces stop the elements they’re positioned between from becoming separated because of a line break. You can create one using your keyboard with the keys CTRL+SHIFT+SPACE. However, once again that’s a style choice. It’s perfectly acceptable to use the tighter single ellipsis character in Word (2). 
The Unicode character for the ellipsis is 2026. To access it, go to the INSERT tab in Word’s ribbon, select SYMBOL, then MORE SYMBOLS.
Make sure the font is set to normal text (3) before you type the code into the character-code box (4).
From here on in, when you click on SYMBOL the ellipsis will show up in the list of recently used symbols. If you’re using a professional editor, you can ask them to ensure that your ellipses are rendered correctly, though it’s something most pros would check as a matter of course.
CMOS also recommends the following:
Professional publishers use this style, and I recommend that self-publishers follow suit. 3. End-of-line interruptions in speech To indicate that a speaking character has been interrupted, use an em dash. No matter whether you’re publishing in US or UK style, this is the tool of choice. It’s a harder piece of punctuation and does a superb job of indicating emotions like impatience, curtness, disbelief, rudeness, frustration and anger on the part of the interrupting speaker. Here’s a fast-paced conversation between Louisa and Min in Mick Herron’s Dead Lions (p. 115):
This use of the em dash keeps the dialogue moving at a fast pace. Like Rimington, Herron doesn’t tell it twice. There are no cluttering speech tags or repetitive explanations that tell us how each speaker interrupted the other. The pace cracks like a whip and we’re offered an authentic back-and-forth. Here’s one more example from Linwood Barclay’s Parting Shot (p. 380). It shows how the em dash evokes a sense of impatience from the speaker who cuts in:
4. Punctuating tagged speech Your character’s just spoken a complete sentence, and you want to follow through with a tag that tells the reader who said what (e.g. he said, she said). How does the punctuation work before the closing quotation mark at the end of the sentence? The comma does the job, even when the sentence is complete, unless you’re finishing with an exclamation mark or a question mark. If there’s no tag following the dialogue, you can use a full stop. Here are some examples from Parting Shot (p. 80) to show you how it works:
Note that when you follow up with second- or third-person speech tags (you said/he said/she said/they said) they always take lower case, whether the punctuation before the closing quotation mark is a comma, a question mark, or an exclamation mark.
5. Punctuating broken-up dialogue If you want to break up your dialogue with speech tags or other stage direction, but your character hasn’t finished speaking, commas or dashes will help you keep your dialogue in order. The key is to get the punctuation right in the text between the dialogue too. Let’s look at two more examples, both from The Chosen Ones by Howard Linskey (pp. 295, 306):
The unbroken speech would appear as ‘I assume that this is not the place.’ and ‘Then he gets nothing and he won’t be able to use it, will he?’ Nevertheless, it is conventional within most mainstream publishing companies to add a comma before the first closing quotation mark and after the speech tag. These commas act as parentheses. If your dialogue is broken with description rather than speech tags, dashes can offer more clarity than commas. If you’re sticking to CMOS style, closed-up em dashes will be your choice. If you prefer the shorter en dash, place spaces around either side of it. Here’s an example from CMOS (6.87) using closed-up em dashes:
“Someday he’s going to hit one of those long shots, and”—his voice turned huffy—“I won’t be there to see it."
And here’s how it would look using spaced en dashes and single quotation marks if you were following UK publishing convention:
‘Someday he’s going to hit one of those long shots, and’ – his voice turned huffy – ‘I won’t be there to see it.’
6. Punctuating vocative expressions in dialogue A vocative expression is one where the person being addressed is directly referred to in a sentence. It needn’t be someone’s name; it could be a form of address that relates to their job or position, one that’s a term of respect (or disrespect). Commas are required for clarity.
Here are some examples:
Punctuating vocative expressions incorrectly can lead to ambiguity. Compare the following examples of dialogue. Notice how the missing comma changes the meaning from expressions of address to instructions to carry out acts of violence!
7. Indicating faltering speech
If your character is out of breath, taken aback, caught off guard, frightened, or nervous, you might want to indicate faltering speech with punctuation. There are no absolute rules about how you do this because it depends on the effect you want to achieve.
Here’s how Sophie Hannah does it in one of her Hercule Poirot continuation novels, Closed Casket (p. 165):
And here’s a made-up example showing a more staccato faltering:
‘No. I-I-I mean not really. It was an accident. I just s-s-saw him standing there and I kinda flipped,’ Jack said.
And here’s how Sylvain Neuvel handles scientist Marina Antoniou in Waking Gods (p. 103). This character consistently struggles with her speech so Neuvel uses a combo of repeated letters to elongate the starting consonants, followed by ellipses to show her process of forcing out the remainder of her words. His approach is unconventional but it imparts an authentic sense of Antoniou fighting with her voice:
Use common sense with your speech tags. If you’ve made it obvious from the punctuation that the character’s speech is faltering, you needn’t tell the reader twice: ‘No. I-I-I mean not really. It was an accident. I just s-s-saw him standing there and I kinda flipped,’ Jack stammered. If your character has a stammer, by all means use these tools to indicate it here and there but don’t feel compelled to litter the dialogue with it. Readers have good memories; nudges are enough. Overdo it and you risk dulling the writing and making your reader frustrated. That’s it! Happy dialogue punctuating! Cited sources
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers. She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, and a Partner Member of The Alliance of Independent Authors (ALLi).
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
PerfectIt is the premier consistency-checking software for many professional editors and proofreaders around the world. Developer Daniel Heuman and I sat down for a chat about what's new!
So Daniel was in New York, and I was in a tiny hamlet in Norfolk called Panxworth. Despite the 6,000 miles between us, the construction works going on outside his apartment, and the internet-connection problems in my somewhat rural neck of the woods, we managed to produce a video of our chinwag!
For those of you who want to jump to specific parts of the conversation, here are the key themes and associated time stamps: ▶️ Louise introduces Daniel Heuman, developer of PerfectIt: 00:00:00 ▶️ What PerfectIt does and why it’s useful: 00:00:24 ▶️ PerfectIt Cloud – the new solution for Mac users: 00:04:08 ▶️ Windows users: Should we buy PerfectIt Cloud?: 00:06:12 ▶️ The subscription model and a new lower price: 00:09:27 ▶️ The benefits of up-to-date editing kit: Stability and support: 00:12:27 ▶️ PerfectIt and Office 2016: 00:14:54 ▶️ PerfectIt 4: Online, in the cloud, or both? 00:18:35 ▶️ Features of PerfectIt 4: 00:20:24 ▶️ Sign-off: 00:25:44 And below is the conversation in full. Click on the Play button to begin listening. I've included subtitles in case you need to turn the sound off or can't understand our British accents! There's a full transcript below. I've edited this for readability but essentially it's the words as they were spoken on the day. THE VIDEO THE FULL TRANSCRIPT Louise introduces Daniel Heuman LH: My name is Louise Harnby and I’m a fiction editor, and today I’m going to be talking to the founder of Intelligent Editing and the developer of a piece of software beloved by many editors all over the world. And that’s PerfectIt. Before Daniel and I start chatting about all the PerfectIt news, Daniel’s going to tell us a little bit about what PerfectIt does, because some of you might not know. So over to you Daniel! What PerfectIt does and why it’s useful DH: Thank you! It’s lovely to speak to you! This is very exciting. I don’t know that they’ve ever done a video interview like this before so thank you! OK. PerfectIt – for the people who have not come across it before (which is probably exactly who won’t be watching this, but hopefully they are!) LH: You never know! DH: You never know! Exactly! So PerfectIt is mostly consistency-checking software, and the key place where it comes in is that when you’re editing work it’s almost always under, you know, time pressure, and with a pressure to produce perfect work. It’s ultimately dealing with the fact that everything is going to be on a budget. So given a limited time, what is the best document you can produce? And PerfectIt really fits in there. It saves time; it helps you edit faster. And the way I was trying to explain it the other day was at the ACES conference. I have new way of explaining it ... I thought a little bit about what gets people into editing. And I think that without delving into the deep psychology of what makes anyone an editor, I think one of the things that does not drive people is the difference between tiny consistency mistakes. So, yes, it’s fun sometimes when you spot ‘e-mail’ with a hyphen in one place and not in another but mostly that’s not what’s driving people. People get into editing because you care about words, you like reading, you care about communication, you want to explain stories, you want to help people connect better with readers. And these little tiny mistakes that take so much time to spot are not the reason. They are a distraction. They’re significant because they jump out at readers but they’re not the reason why we get into this. And they’re certainly not the reason why one should be spending a lot of time on a document. LH: And you’re so right because they take so long to deal with. I’ve had manuscripts before where, actually, particularly if an author’s got a budget, people like me are spending perhaps hours and hours and hours when we’re using just our eyes, dealing with these tiny inconsistencies, which as you say are red flags. And, yet, actually what we want to do is immerse ourselves in the narrative in front of us and to make it better. And the more time we can spend focusing on the flow of the words ... because every time you come across a hyphen that’s inconsistent, or inconsistent capitalization, as an editor, you’re dragged out of the flow of the work as well. And so being able to do that, to save time by having a piece of software like PerfectIt to do that for you is just wonderful. And you still get the pleasure of knowing that you’re bringing this consistency to the work. But it is back-breaking doing that manually. I think that’s the thing that a lot of editors feel. It’s just back-breaking work. And I would rather an author paid me to do other things with my time. I want them to feel that I’m going to do those things but I don’t want to have to spend more time than necessary doing it, and that’s where your software comes in. DH: Absolutely, and we put on the homepage something like: you spend the time on what matters most, which is your words and their meaning. LH: Yeah, yeah, that’s exactly it. PerfectIt Cloud – the solution for Mac user LH: So, Daniel, in the past, PerfectIt’s only been available to Windows users. Well, that’s not quite true. I do have Mac-using friends who have been able to use PerfectIt but they have to be running something like Parallels, or I think it’s called VM Fusion Ware or something. Or they’ve had to go buy a cheap Windows laptop. So I suppose that’s the thing that everybody’s talking about. Like, what’s new for Mac users? DH: That is the news! So first off, it’s been touching and amazing, the extent to which people have been going to use PerfectIt. Like you say, they’ve been installing Parallels. People have been buying computers to run this program, which is touching. I know that buying another computer doesn’t cost as much as it used to but, still. But for Mac users who hate Windows and just run it for one program has been phenomenal to see. But yes, no longer! So we are producing PerfectIt Cloud, which is ... you’re going to have to forgive ... in the background you can probably hear the construction noise! I’ll do my best to speak over it. So we’re producing PerfectIt Cloud, which is an Office Store add-in. And the great thing about Office Store add-ins is that they are compatible in any version of Office 2016. So if you are on a Mac, if you’re on a PC, if you’re on an iPad, even in Word Online (which I don’t know that anyone actually uses), no matter which version you’re on, you see the same add-in. So the functionality is exactly the same across. And we’ve been developing this for ... I mean, you know, the amount of times people have heard me saying, ‘A Mac version is coming soon. It’s just a few months. It’s just a few months.’ But, no, as of 26 June we will have PerfectIt Cloud, which brings compatibility to Mac and to iPad for the very first time. So it’s really exciting! Windows users: Should we buy PerfectIt Cloud? LH: So what about Windows users? I have PerfectIt 3. I’ve had all the versions since it first launched. I work on a PC. Should I rush out and get PerfectIt Cloud? DH: In a word, no. So the introduction of PerfectIt Cloud is primarily for Mac and iPad users at this stage. So if you’re using PerfectIt 3, if you’ve got a Windows PC, that’s still going to be the best version that we offer. And it’s going to be strange because PerfectIt Cloud looks so much better! The interface is even easier than it was before. It’s a beautiful product, but underneath there are a few things that PerfectIt 3 can do that we haven’t been able to do for Cloud yet. So the most important one of those is customization of styles. That’s still going to take some time to bring into PerfectIt Cloud. The ability to check footnotes – we’re going to be dependent on Microsoft for them to make some changes before we can bring that in. So if you have PerfectIt 3, if you have a PC, in most cases the thing to do is not to rush out, and not to buy this at least until we produce a new version for the PC, which will be PerfectIt 4. There’s one exception, which is, you know, all those people who ... the ones, the amazing wonderful users that you’ve described who have gone and bought VMware, and Parallels, and even separate computers. A bunch of those users are really frustrated with having to turn them on every time, and going through Windows updates, which take forever. And just to get PerfectIt up and running takes two hours. And it’s saving them a lot of time so they do it, but if you’re one of those people who has both a PC and a Mac, in those cases, yes, you would. Not all the options are included but it’s close enough that you may not want to be uploading and updating your Windows computer each time just to run PerfectIt. LH: Yeah, and I suppose also for people perhaps who are, I don’t know ... I was thinking about the increasing number of editors who are location-independent. And, actually, maybe they don’t always have the latest ... you know, they’re don't want to be worried if their computers break ... and the idea perhaps of just knowing that it doesn’t matter which PC you’re on, or which Mac you’re on, that if you’ve got something, a machine in front of you, you can do your work and you can access the core functionality of PerfectIt wherever you are. And that’s an important thing, I guess. I mean, I’m not location- independent. I am very much dependent! I’m in Norfolk with a rubbish broadband speed and so I’m kind of quite keen to keep things offline and local when I can. But knowing that I’ve got the choice – that will be a big issue for me. The subscription model and a new lower price LH: Can we talk about price now? Because in the past, once every two or three years, you bring out a new version, and I’ve paid you, I don’t know, $90? I can’t remember the price off the top of my head. So that’s the way it’s worked. But you’re doing things slightly differently now, aren’t you? DH: Yes. So we are switching to a subscription ... sort of a subscription. And I know the minute I use that word people are turning off this video, don’t want to know anything more. because everyone is sick to death of subscriptions with, you know, Netflix and Amazon, and, oh my God, you can get a subscription for your vegetable delivery now, which is bonkers! But I think what we’re doing is really different to that. We switched to a once-a-year payment. At this point at least, there’s no handover-your-credit- card or anything like that. You pay each year if you want to continue using it. And switching to that kind of model means we can drop the price by a lot. So instead of being a $99 one-off purchase, we’ve made it $70 per year. And on top of that, we’ve really dropped the price for, you know, independent editors. So we’ve worked with as many of the editing societies around the world as we can – certainly all the big ones – to have a kind of a discount. And that’s going to be an additional 30%, so the price is going to be just $49 per year for independent editors who are, you know, a member of any of the big editing societies anywhere in the world. So subscriptions mean we can get down the price down a lot, and they mean we can create a really compelling, simple offer, which is that you will buy PerfectIt and then you will get any version you want on any number of devices you want, and not pay a separate charge, which I think is really what bothers a lot of people. So you buy PerfectIt and you can install the PC version on your PC, you can install the Cloud version on your iPad. You only pay once for that and you don’t get stuck with that additional charge you described, which was the upgrade charge. So, yes, we used to have a one-off price but people liked this product and much more than 60% of people paid the upgrade price anyway. So, really, there was a hidden recurring element. And by switching to ... we can call it a subscription, we’ve made everything included in that price very transparent. And you get all the upgrades, you get all the updates, you get support. So I think the way we’ve switched the pricing is really gonna be attractive, and especially attractive for independent editors. The benefits of up-to-date editing kit: Stability and support LH: I think it’s wonderful because, I mean, I’m a big fan of the subscription model, even with things like Microsoft Office, because I’m a professional, I want the latest software, and I want it to work in an environment that’s stable as well. And so I like having the most up-to-date version of Word. I had a situation a few years back when I first plonked a download of Windows 10 on my Windows 8, or Windows 7 computer or something, and I was trying to get PerfectIt to operate in an environment basically with two operating systems, and guess what? It wasn’t happy. And so at that point ... because PerfectIt was key to my editorial day-to-day working, it was one of the things that triggered me to actually think, ‘You know what? You need to get yourself an up-to-date computer with the latest operating system already installed, so it's not fighting with anything else.’ And to know now that I’m always going to be running the latest edition of Word on the latest operating system and that the plugins that fit into that software, like PerfectIt, are going to be the latest editions too ... for me, that’s just one less worry. It means that I can get on doing the business of editing rather than thinking, ‘I want to be able to do X, Y or Z but I can’t because it’s broken.’ And so I’m really excited about this because, as you say, it’s upfront, it’s clear, everybody knows what they’re gonna pay and what they’re getting. And you mentioned something there as well, and that was the issue of support. Because in days past, it was the case that if you decided to stick with an older version of PerfectIt you wouldn’t have access to you. And sometimes, you know when you get stuck on things, you just want to be able to ask the person who actually really knows the answer. It’s not guesswork. And knowing that that’s always going to be ... you get the full package. So I’m really excited about it. I think it’s a really good deal. I think the price is a steal as well. And for those of us who are members of professional societies, what a perk of membership to know that you can get one of your core pieces of editing software at such a huge discount! Thank you! DH: Yeah, those societies and the editors within them are absolutely the reason why we are where we are today. That’s been the core of this business so now I absolutely think that it’s important to support them. PerfectIt and Office 2016 DH: And I agree with you completely about thinking about Office and updates that way. I know that a lot of editors have been disappointed when we’ve said that PerfectIt Cloud is only gonna work in Office 2016. And they said, ‘Well, I’m never moving to Office 2016 because I’ve heard all these terrible things about it.’ And I just wonder every time I hear that ... I think, I know those stories are true – when you have a piece of software like Microsoft that is installed everywhere then you always are going to have some things that don’t work and that are gonna get on Facebook. And they’re gonna look to seek help. And they’re always going to be the ones who have some kind of problem. You never get someone who installs the latest version of Microsoft and says, ‘Yep, that worked’ and tells all their friends. So our perception of these versions has been really sort of distorted by, I think, the relatively lower number of people who have had problems in perspective to the total, in relation to total. And as you say, when you actually look at the package and what Microsoft are offering, I think it’s really good. And I’m fortunate that I’ve never had any sort of problems with it. I’ve used Word on the iPad, I use Word on the PC. I think they’ve done a really good job of making those two similar and in line. In the past, there’s been big differences between those things. You know, I was able to switch as a long-time PC-user to the iPad version. I had no trouble doing that. And they do it at a low monthly price. And what I’ve sort of been saying to anyone who’s asked about it is something like, yes, there are some users who’ve had problems, and there have doubtless been lots of glitches, and there always are with endless Microsoft updates, but what about trying it for one month? They offer a monthly price. And see if it works for you. And you’ve got your old version and you can always go back, but those old versions, they’re at this point ... you know, Microsoft has stopped supporting Office 2011 anyway, so we’re out of that period really. Yeah, I think I think as you say, the package they’re offering is very good, and especially the kind of value in the monthly offer. It makes a lot of sense. LH: Yeah, and I think the other thing to mention is that, you know, I think sometimes there are people in, well, not just the editing community but all sorts of communities who are trying to run say 2016, or with all the updates, 2018 software but on decade-old computers. And that’s a bit like taking your mobile phone to medieval times and complaining you haven’t got signal! You know, we need as editors to be, I think, working with the latest equipment. Within a budget, of course. Most of us aren’t rich. But I always think, get the best RAM you can ... get the best processor you can for your money. And then things like PerfectIt, within Word, within Microsoft Office, will work the best for you. DH: Absolutely! And we all make these mistakes! I’ve been screaming at my printer all morning and pressing over and over again, and wasting so much time trying to get this printer to work. And I know the reason why it doesn’t work – it’s because it’s really old, and would cost next to nothing to replace. But, you know, we’re old enough to remember that these things used to be very expensive, and it’s so difficult to get rid of them. But, actually, you know, when running a business, to spend my morning yelling at a printer is probably not the best use of my time! PerfectIt 4: Online, in the cloud, or both? LH: So can I just check something with you? Can we talk then about the next version of PerfectIt that will be also usable locally? So we’ve got PerfectIt Cloud but there’ll come a point I’m assuming when there’ll be the next version, like PerfectIt 4 that will be in the cloud. Will that also be something that someone like me who’s got a little bit of an iffy broadband connection can, if they want to, download to their computer? DH: Oh, so we are NOT moving to the cloud in any way, shape or form. We’re doing very much that kind of approach that Microsoft has gone for where you pay once and you have different parallel versions for different devices. We are not switching to the cloud. There will always be a local version. As I said earlier, it’s still kind of the best version for a number of reasons. And so at the moment, if you get a subscription, you will get PerfectIt 3 and PerfectIt Cloud, and as of the end of this year you’ll get PerfectIt 4 and PerfectIt Cloud. And we’ll keep the two in parallel so that they’re running off ultimately the same code, so that you’ll get the update for PerfectIt 4 locally, and at the same time, almost at the same time, we will update PerfectIt Cloud automatically, and they’ll offer the same checking. LH: OK, great, that’s good. I just wanted to be sure of that because ... just because my broadband is a bit of a nightmare here! DH: No, no, I don’t think we communicated that properly in our in our literature so it’s a really good question to ask. I’m sure a lot of people will be concerned about that. Features of PerfectIt 4 LH: So can we talk about ... do you have any specific plans for what will be new with PerfectIt 4 yet, or can we suggest things? DH: Well, obviously, I’m going to dodge that question because the trouble with that question is that if I start saying we’ve got plans for PerfectIt 4, that we’re working on ... I suspect if I start saying the things that I’m working on, the disappointment that will follow when we say we’ve failed ... [laughing]. But I like the idea of suggestions. As I said, this business has very much been built by support from editors, and feedback from editors. So if we wind the clock like all the way back to the first time that I was at SfEP conference, I remember someone mentioning en dashes and and why they could be in the hyphenation-consistency check. And let’s let’s be honest, at that point, which was been ten years ago or so, I didn’t understand the significance of that. Why would we need to be looking for en dashes and hyphenation? What’s the point? And actually it was that feedback which we then took on. And it got quite a few people explaining and saying, well, actually, this is the error that we’re looking for. This is what comes up. It’s really difficult to spot because of this. Is there anything you can do? And I think it was in PerfectIt 2 but certainly in PerfectIt 3. And we’ve built in an en dash versus spaced-hyphen consistency check. LH: And em dashes too. DH: Yes, the way we do the checking for those is a little different but, yeah, it ultimately came down to the same reason, which is editors suggesting that these were the things that they wanted to see. And I’d love to get those suggestions for PerfectIt 4. So, particularly ... LH: I’m thinking legal and medical might be obvious. DH: Yes, legal. I’ve got a long, long list of changes that we want to make for legal, but medical, pharmaceutical scientific ... I know we have a lot of editors working in those kinds of fields and I feel like we haven’t done as much for them as we should and could. So I’d love to get suggestions from every kind of editor, but especially those ones would be really good, because we need to do more in that area. LH: And speaking as a fiction editor as well, I think there are certain functions I’m using ... the possibilities are there but there are certainly things I could think of in terms of the similar-word-find function that maybe even we could put forward some suggestions that might help you to push that stuff further forward, and help us to adapt the style sheets more so that we could get more benefits in that field too. And I’ll certainly be thinking if there’s anything else from a fiction point of view that I can push your way. DH: Definitely. You know, we always get a nonfiction writer saying, ‘Can this be used for nonfiction too?’ We get fiction writers saying, ‘Can it be used for fiction?’ And we hadn’t been quite communicated clear enough that, yes, it’s for all of those things. And, yeah, the similar-words function. Lots of people are using that for character names. Can we improve that? Can we make it clearer that that’s a possibility for character names? Can we look and see if there are ways of improving that? And already you have got me talking about features that I swore just two seconds ago I wouldn’t get into! Some of those things people are really gonna be telling me, ‘But you promised, but you promised!’ I will avoid saying more about that but I am excited by that kind of change and by doing things that are specific to different kinds of editing, for sure. LH: I think from my point of view as an editor, and for people who are watching this who haven’t tried PerfectIt yet, knowing that you’re responsive to ways in which you can develop the software is a really important thing to emphasize, because the various iterations that I’ve used over the years have just got better and better. And that means I’ve saved more and more time. And so I want to say to people that when you invest in this software you are working with a company and a business owner who will listen to you, and that's a good thing. DH: Thank you! And my guess is that at this point in the video, between the dogs barking outside and the helicopter going overhead, anyone who is completely new to this software will probably have stopped watching 20 minutes ago! But, yes, anyone with us longer hopefully has experienced that we are ... it’s actually the other way around. It’s editors who’ve helped build this and made all this stuff possible, so we are absolutely listening, and will continue to iterate and improve. If we improve the product for actual editors, everyone else who uses the software benefits. And, you know, we really have the best people in the world advising us, so I think it’s fantastic. Sign-off LH: Daniel, thanks very much! That’s been really, really useful. So I’m excited about ... not just the cloud but also PerfectIt 4 coming out. I’m excited that I’m going to be able to use it on multiple platforms, in different spaces. I’m excited that I’m going to be able to get it cheaper than I did last year! So thanks for taking the time to talk to me. It’s been brilliant. DH: Thank you! And thank you for all the support through all the years. The excitement and enthusiasm is so encouraging after we’ve been telling people, you know, soon, soon just another month, just another couple of months. Now that it’s done, now this here, it’s fantastic! Thank you. 
Contact Daniel Heuman: daniel@intelligentediting.com
Visit the PerfectIt website: www.intelligentediting.com Don't forget to check whether there's a discount available via your national editorial society.
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Have proofreading symbols passed their use-by date? It’s a controversial question, but one that we definitely need to ponder. So, as an unconventional ‘celebration’ of 30 years in publishing, Melanie Thompson is setting out to answer this question – and she needs your help ...
Over to Melanie ...
A few months ago a colleague asked me whether (UK-based) clients want proofreaders to use British Standard proofreading symbols or whether they prefer mark-up using Acrobat tools on PDFs. ‘Good question,’ I replied. ‘I hope to be able to answer that later this year.’ That probably wasn’t the answer they were expecting. The widely different expectations of clients who ask for ‘proofreading’ has been niggling at the back of my mind for a couple of years. What's changed in three decades I have been a practising proofreader for 30 years, I’ve managed teams of editors and proofreaders, and I’ve been a tutor for newcomers to our industry. Yet I still learn something every time I proofread for a new client. It’s several years since I was last asked to use BS symbols for a ‘live’ project,* but I use them a lot on rough draft print-outs – because they’re so concise and … well, let’s face it, to some extent those symbols are like a secret language that only we ‘professionals’ know. I like to keep my hand in. But proofreading is now a global business activity, and ‘proofreading symbols’ differ around the world – which kind of defeats their original objective. And now so many of us work on Word files or PDFs (or slides, or banner ads, or websites or … ) and there are other ways of doing things. This all makes daily work for a freelance proofreader a bit more complicated (or interesting (if challenges float your boat). We might be working for a local business one day and an author in the opposite hemisphere the next. It’s rare, but not unheard of, to receive huge packets of page proofs through the mail and to have to rattle around in the desk drawer to find your long-lost favourite red pen. Usually, however, things tend to arrive by email or through an ftp site or a shared Dropbox folder. Digital workflows 
MELANIE THOMPSON: DEALING WITH DIGITAL WORKFLOWS FROM A STANDING DESK!
The ‘digital workflow’ is something we’re now all part of, whether we realize it or not. But clients are at different stages in their adoption (or not) of the latest tools and techniques, and that leaves us proofreaders in an interesting position.
We need to be able to adapt our working practices to suit different clients; ideally, seamlessly. For that, we need to understand what the current processes are, and what clients are planning for the future. And that’s where I need your help. A new research project: proofreading2020 I’ve launched a research project, proofreading2020, to investigate proofreading now and where it might be heading. 
The study begins with a survey, asking detailed questions about proofreading habits and preferences. Once the results are in, I’ll be conducting follow-up research for case studies and, early in 2019, publishing the results in book form.
You can find out more and complete the survey at proofreading2020. It's open now, and closes on 30 June 2018. Almost 200 proofreaders, project managers and publishers have already completed the survey. Several have contacted me to say it was really useful CPD, because it made them think about how they work and why they do things. So I hope you’ll be willing to set aside a tea-break to fill it in. It takes about 20 minutes to complete, but it’s easy to skip questions that aren’t relevant to you. There are only a handful of questions (at the beginning and end) that are compulsory (just the usual demographics and privacy permissions). Beyond that, the sections cover the following:
Your chance to join in!
Find out more and complete the survey at proofreading2020.
Don't forget, the closing date is 30 June 2018. * If a client does ask for BS symbols, I recommend downloading Louise’s free stamps for use on PDFs – they will save you a lot of time and help you deliver a neat and clear proof.
Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Here's a treat for PerfectIt users ... a custom style sheet that includes the find-and-replace strings in my free ebook, The Author's Proofreading Companion.
If the Companion has made your life easier, you'll love what my colleague Andrea Kay of Yours Truleigh Editing has done. Yep, she's upped the efficiency game for all of us by creating a custom style sheet that can be imported into PerfectIt.
Thank you so much, Andrea! For those unfamiliar with either the software or the booklet, I've provided an overview of both, and the benefits of importing the style sheet. Andrea's also created a style sheet for the Student Proofreading Toolkit. Double thanks! Below that are the installation instructions and the ready-to-download files for the Companion and the Toolkit.
What's PerfectIt?
For those readers who are not familiar with this software, PerfectIt is a sophisticated consistency checker that works with Microsoft Word. By customizing its built-in style sheets, or creating your own, you can define your preferences and let PerfectIt locate variations and possible errors. I recommend every professional editor add it to their toolbox. You can read my more detailed review of the product here: PerfectIt 3 – must-have software for the editorial freelancing pro. If you don't yet have PerfectIt, contact Intelligent Editing for pricing and download information.
What's The Author's Proofreading Companion?
This free ebook helps editors and self-publishing authors tidy up Word documents. In addition to showing you how to use some simple macros, it includes search strings to help you locate and fix potential problems, including rogue spaces at the beginning and end of paragraphs, double line returns, tabbed paragraph indents, lower-case letters at the beginning of paragraphs, paragraphs that end with no punctuation, and more.
What's the style sheet?
Andrea Kay just saved PerfectIt users a ton of time by building an importable custom style sheet that features the key search strings from the ebook! That means you don't have to manually type the strings into your Word document one by one, then repeat the process each time you work on a new document. Instead, import the style sheet, run PerfectIt, and let the software locate the potential problems for you. All you have to do is decide whether to implement the suggested change in your document. How to import your style sheet Importing the style sheet is a doddle, I promise, Follow the instructions and screenshots below. If PerfectIt is already installed, the process will take no longer than 20 seconds. 1. Unfortunately, I can't upload the files to Weebly, so I'm using my bot Lulu and delivering via Messenger. Click on the green button below. That will take you to a post on my Facebook page. There you can comment with the word 'perfect' and Lulu will send you the files. Click on each one to download to your device.
2. Once you've installed PerfectIt, open the Word document you want to check.
3. Launch PerfectIt. 4. Click on Manage Styles. 
5. Click on the Import button.
6. Select the pft from your device and click OK.
7. Click OK in the Manage Styles window.
8. Select the your pft from the Current Style drop-down box.
9. To run PerfectIt on your current Word document using the custom style sheet, press Start.
If you're not a PerfectIt user ...
If you're not yet ready to invest in PerfectIt but still want access to the find-and-replace strings and other tools in the ebooks, click on the images below. They'll take you to the download pages. They're free and you won't have to hand over any personal data to access it. Enjoy!
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
If you’re an editor, making Word work hard for you is a must. The new and revised edition of Editing in Word 2016 is one of my recommended resources. Here's why.
I’m a fiction editor who works solely for indie authors and self-publishers. I work on raw-text files, and Microsoft Word is one piece of software that I cannot afford to be without.
Word has its snafus but I don’t know of any word-processing software that comes close to offering its superb functionality. I don’t just edit in Word; I’ve also created print- and digital-ready books directly in it. So when fellow editor and author Adrienne Montgomerie asked me to review the second edition of Editing in Word 2016, I couldn’t wait to get stuck in. I’ve been using Word since 1991, so could Montgomerie teach this old dog a few new tricks? How about younger pups? Let’s see ... More than an ebook This is a digital self-study course. Yes, you get the ebook with all the contextual information and foundational teaching. But there are also videos that show Word in action, and a bunch of exercises with which to practise what you learn at each stage of the process. I love the fact that the advice is actionable. You read, you see, you learn, and then you do. There’s no better way to ensure it’s all sunk in. A focus on core tools
‘We need a resource that gets right to the tools editors can’t live without; the tools that make our job easier and faster. We need to know about the tools that are the very reason we use Word at all.’
PREFACE, Editing in Word 2016
We certainly do. Here are some of the tools that Montgomerie focuses on:
If you don’t know 8 out of 10 of the above tools inside out, you’re likely not as efficient or productive as you could be. That alone makes this course a worthy purchase. That it’s a steal at just under 25 quid (excluding VAT) makes it a no-brainer. Let’s dig a little deeper ... Screens, operating systems and how we work with Word One of the best things about this course is its acknowledgement that editors work in different ways.
Top tips This course is rammed with useful and actionable tips on how to get stuff done and in ways that respect your preferences. For example:
And along the way, Montgomerie includes ‘Pro tips’, ‘Read more’ and ‘Troubleshooting’ callouts to keep you on track. Video demos I’m a big fan of multimedia learning. And when it comes to editing, sometimes just hearing your tutor’s voice and watching them go through the motions onscreen can trump the written word. In addition to the ebook, there's a support website with 27 video tutorials for both Mac and Windows users. 
This feature is excellent. I’ve come across a lot of editors who’d like to enhance their digital skills but are held back through fear. Montgomerie takes the stress away via accessible walkthroughs that even the most tech-nervous of nellies will be able to follow.
Here are just 3 examples:
Practice makes perfect There are 24 exercises in this course that help you to hone your skills and start doing what’s written in the book and shown in the videos. Just a few examples include:
A note on versions This course was created in 2017 using Word 365 on Windows 10 and Sierra OS. Given that the author’s using the latest software and operating systems, you might find that the instructions need a little tweaking here and there if you’re using medieval Word (or should that be Wordeth?)! For example, older versions of Word might have different ribbon displays, icons and menu options. That’s unavoidable, and a reminder that, as professionals, we should be aspiring to use up-to-date equipment. I’d prefer my dentist not to fill my teeth with 10-year-old composites; we should treat our clients similarly. My verdict Did I learn anything new? Yes, I did. But editorial training isn’t just about finding out what you don’t know; it’s also great for affirmation of what you do know. I was pleased to learn from a pro that a lot of my Word usage is on track. Here’s another thing, though: there are functions in Word that I use infrequently (e.g. erasing time stamps). I know it’s possible but I’ve simply forgotten how. And instead of trawling Google or spending valuable time asking questions in editing forums, I can have Editing in Word open on my desktop. From there, I can search, locate and solve my problem in seconds. I recommend this without reservation for any editor who wants to get the very best from Word with a one-stop shop, especially those who've been held back by fear. Montgomerie will take that away from you – I promise. Information and access
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
If you think there's no place for macros in fiction editing, think again. My friend Paul Beverley has collated a core group of macros that will have any fiction line editor, copyeditor or proofreader drooling! Self-publishing authors will love them too!
I don't use all of these (every editor has their preferences) but some of them are staples and save me oodles of time! 
Some of the macros apply when you’re looking at the whole text of a novel, while others are selective ... for use while you’re editing line by line. Bear in mind that they're designed to be used with MS Word files.
Macros that work with the whole text These macros are ideal near the beginning of the edit, when you’ve put together the whole book in one single file, and you want to look for inconsistencies. ProperNounAlyse searches the novel for any words that look like proper nouns; it counts their frequency, and then tries to locate, by using a variety of tests, and pairs of names that might possibly be alternative spellings or misspellings, e.g. Jayne/Jane, Beverley/Beverly, Neiman/Nieman, Grosman/Grosmann etc. 
FullNameAlyse is similar to ProperNounAlyse, but it searches for multi-part names, Fred Smith, Burt Fry, etc.
ChronologyChecker is aimed at tracing the chronology of a novel. It extracts, into a separate file, all the paragraphs containing appropriate chronology-type words: Monday, Wednesday, Fri, Sat, April, June, 1958, 2017, etc. This file is then more easily searchable to look at the significance of the text for the chronology. WordsPhrasesInContext tracks the occurrence of specific names through a novel. You give it a list of names/words/phrases, and it searches for any paragraphs in the novel that contain them. It creates a separate file of those paragraphs, with the searched element highlighted in your choice of colour. CatchPhrase searches your novel for over-used phrases and counts how many times each phrase occurs.
Macros for when editing line by line
FullPoint/Comma/Semicolon/Colon/Dash/QuestionMark/ExclamationMark These macros change he said, you know ... into he said. You know ... or he said: you know ... or he said – you know ... and so on. FullPointInDialogue and CommaInDialogue These two macros change “Blah, blah.” He said. into “Blah, blah,” he said. and vice versa. 
ProperToPronoun
This macro looks along the line to find the next proper noun, deletes it and types ‘she’. But if you then type Ctrl-Z, it changes it back to ‘he’. MultiSwitch You give this macro a list of changes that you might want to implement: Jane Jayne Beverley Beverly that which which that When you click in a word, and run the macro, it finds your alternate and replaces it. It also works with phrases and can also provide a menu of alternates: he said he opined he shouted he voiced she said she opined she shouted she voiced 
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
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:
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:
"We recommend the Microsoft Word path as the best option for most fiction and narrative non-fiction authors because it’s the easiest method to produce high-quality ebooks that are readable on any e-reading device. It will also generate your ebook in multiple ebook formats at the Smashwords store, making your book readable on any e-reading device. By using Microsoft Word, it’s also easy to modify your book at any time."
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:
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:
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:
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.
The latest from the Macro Chat column by editor Paul Beverley ... In this post, Paul shares the story of his programming and editing journey. Talking of which, his latest videos on wildcard find-and-replace techniques are gems: Wildcarding techniques 1; Wildcarding techniques 2; Wildcarding techniques 3.
Some people are surprised to discover that I have a bank of over 500 macros for editors and proofreaders, and I’ve recently had several encouraging comments about my ‘amazing programming skills’, but in my defence I’d like to point out that it’s not really as clever as it looks.
It’s just that I’ve been doing it for a very, very long time. Let me explain ... 
Genesis
It goes right back to 1982 and to the BBC Microcomputer. This spawned a word processor called Wordwise Plus, which had a Basic-like programming language for manipulating text (and numbers). So, with my love of the English language and a little bit of very basic (Basic) programming skill, I was able to write some useful programs that people were willing to pay money for – £10 a program, if memory serves, sold on 5¼” floppy discs! 
In 1987 Acorn produced their first Archimedes computer (then the fastest desktop computer in the world) and I started publishing a subscription magazine.
Every month I would transfer the text of the magazine (produced on an Apple Mac Plus, with its 9” screen!) onto a floppy disc (now 3½”) that I could sell to subscribers (for £2 a month) so that they could electronically search for things in the back issues. For that, I had to do a series of find and replaces (F&Rs) to convert the Mac text to Acorn format, such as changing the Mac’s snazzy fl and fi ligatures to ordinary fl and fi, and proper dashes to hyphens. For this, I kept a list – on a piece of paper! – of the required F&Rs until, eventually, I thought, Surely, this is the sort of thing a computer could do! 
So I asked my subscribers if anyone could write me a program. Paul Sprangers, in the Netherlands, wrote me one, so I started using scripted F&R (think of a text-only version of FRedit).
Around 2005, after about 18 years of editing, typesetting and proofreading monthly magazines, I was becoming quite adept at using scripted F&R. 
However, I could foresee the end of my magazine, and began freelance proofreading and then editing. But that meant using Microsoft Word for the very first time in my life – Microsoft was the devil incarnate to a pure Acorn user.
So, for the first time in 18 years, I didn’t have the aid of scripted F&R! Then I discovered that Word had a programming language – Visual Basic. I got on to my Acorn contacts again and found someone who could write me a (text-only) scripted F&R program (a macro), then called PreEdit. 
How (not) to win friends ...
By this stage I’d joined the UK’s Society for Editors and Proofreaders (SfEP). I used their email discussion list to ask them newbie questions such as ‘How do I apply a style to a paragraph?’, while at the same time trying to point out to them that they could do their editing jobs much more quickly and easily if they used scripted global F&Rs. Not surprisingly, not everyone was receptive! To put my blunder into context, I’ve recently discovered that, at that stage, Ann Waddingham was pioneering the SfEP’s on-screen editing courses when, in her words in the current issue of SfEP’s Editing Matters, ‘people’s attitudes to on-screen editing were mostly negative. I spent much time ... persuading publishers and editors to take the plunge – both parties were deeply suspicious’. And there was me trying to persuade them to embrace automatic methods of on-screen editing. Oops! So it’s hardly surprising that I upset a lot of people with my evangelical zeal. Sorry, folks! But in my defence, please remember that, at that stage, I had already been using scripted F&R for almost 20 years! I simply couldn’t understand why people weren't able to see its huge power. 
Exodus
It was 2009, and I was enjoying a quiet Sunday lunchtime picnic with Sue, my wife. We were by a river in the Norfolk Broads and it was idyllic: the sun was shining and a beautiful swallowtail butterfly landed not six feet from where we were sitting. I was trying to concentrate on the book I was reading but my mind kept straying to work issues. In particular, I was thinking about PreEdit, and how the list of F&Rs was held as a text file rather than as a Word file, which made it very cumbersome to use. ... But what if I made the list a Word file? Why should I not use a Word file? No reason on earth. That would make it much easier to use. Oh, hang on a minute! If the list was a Word file, then some F&Rs could be bold or italic. And why not consider super/subscript, small caps, styles, highlighting, font colour? As I thought about it, the excitement mounted. Sunday or no Sunday, I had to go home there and then and do some macro programming. 
A land flowing with milk and macros
With the core tool – FRedit – in place, in 2010 I set about adding tools to speed up my editing in a whole variety of ways: analysing the text for inconsistencies, checking references and citations and speeding up my text editing sentence by sentence. This all supported and enhanced my growing workload of editing scientific books. Unfortunately, relatively few of my colleagues shared my enthusiasm for macros, so I just beavered away, increasing my own efficiency and effectiveness, and sharing my macros, via my website, with anyone who was interested. 
However, in 2015–16, Stephen Cashmore pioneered the SfEP’s new online course, ‘Editing with Word’. The syllabus included a section on using FRedit.
The course was a huge success, with many more people taking it than the organisers had dared to hope. It was encouraging to me because it brought me into contact with more and more people wanting to use my macros. In the past year, I’ve started venturing into the (for me, as a technophobe) brave new world of Facebook, joining some of the editorial groups. And there I’ve found a ready acceptance of my ‘new’ ideas. People have been surprised by the range of macros available and have made many encouraging comments. 
The right place at the right time
This brings me back to the original purpose of this post – to demythologize my macros. Remember that I’ve been using scripted global F&R for nearly 30 years and writing VBA macros for almost 10 years. Add to that the fact that in 2008 my business was failing: the magazine was fading away, I had large debts and I feared losing my house. I was therefore highly motivated to develop the means of generating cash, fast! I grabbed anything that would speed me up with both hands. And a more positive factor: I’m absolutely fascinated by the English language (David Crystal is my absolute hero!) and I really love working out how to express things more effectively. So macros are a tool for clearing away all the boring, nitty-gritty bits of an editor’s job, allowing me to focus on the meaning and flow of every sentence. This is the most enjoyable job of my whole career. So, if my macros are of help to others then that’s great, and I’m grateful to God that I was in the right place (almost bankrupt!) at the right time.
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.
Macro Chat is back! This is where I hand over the Parlour reins to my friend, macro king Paul Beverley. A lot has happened since March: Paul's written lots more macros (close on 600 now) and has created another couple of dozen screencasts, 45 in all (see the Resources at the bottom of the blog for more on that). So over to Paul ...
What can macros do for you?
More and more people are taking a deep breath and loading their first macro tool. (I say ‘macro tool’ to differentiate my pre-programmed macros from those that you can record for yourself.) But why bother? What can macros do for you? 'I’m a proofreader – is there any point?' Most definitely! The better view you can get of the (in)consistency within your document before you start reading, the more problems you’ll be able to spot as you read through. Did the client pass on the editor’s style sheet? Maybe, but anyway, you can easily analyse your document to find the predominant conventions and get a count of the exceptions:
'I’m an editor, but do I need 600 macros?' Absolutely not! Indeed, that’s part of the problem, knowing where to start. (Sorry!) But if I suggest a possible general strategy, maybe that will help.
Fine! Except that (3) is a massive over-simplification. Let’s dig a bit deeper, and see how a macro-aided editor might work. FRedit – the powerhouse The principle I use (for books, anyway) is that I make as many changes as I can globally, but I do it chapter by chapter. I do a number of global find and replaces (F&Rs) on chapter 1, but I keep a list of them, so that I can do the same ones again on chapter 2 as well, and I don’t forget any of them. But hang on! Couldn’t you get the computer to go through that list and do all those F&Rs for you? Absolutely, and that’s what FRedit does! And it doesn’t just do the F&Rs, it allows you to add a font colour or a highlight to each and every F&R, and/or to track change (or not) each one – do you really want to track change all those two-space-to-one-space changes? But isn’t global F&R dangerous, especially when you can do a whole string of F&Rs at the touch of a button? Definitely, so start with just a few F&Rs and build up confidence; but if you colour or track all the changes, you’ll be able to see, when you read chapter 1, any inadvised F&Rs, so you can remove them or refine them. To give an example, if you changed every ‘etc’ into ‘etc.’ you’d get ‘ketc.hup’, ‘fetc.h’, etc.. (sic)! So use a wildcard F&R: Find: ‘<etc>([!.])’ Repl: ‘etc.\1’ (without those quotes, of course). And you don’t even need to work out those wildcard F&Rs yourself – just look in the library of F&Rs (provided free with FRedit) and gain from other people’s wildcard expertise. As you refine your F&R list, chapter by chapter, more of the dross is sorted out before you read, so (a) you miss fewer mistakes (as there are fewer to find, as you read) and (b) you can concentrate more on the meaning and flow of each sentence and (c) the job is more interesting, involving fewer boring tasks. Enjoy! Resources
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly.
Can you proofread and copyedit professionally without being mouse-dependent? And what if you don't have a degree? Does it matter? A reader asked me. Here's my take.
Andrew says:
I am considering taking introductory courses in proofreading and copyediting; firstly, please could I ask you about the software used. Usually I prefer to use the keyboard to move around the menus, because I find repeatedly using a mouse tiring on my hands and arms. Does (at least some of) the software used in your industry allow keyboard use as an alternative to mouse work? Secondly, would my lack of a degree hold me back? I have many years' experience in IT system development and programming; would this experience be attractive to publishers? However, I was hoping to not just to work on IT-related material! Thanks for your question, Andrew. Let’s deal with the software issue first. Software Text editing When editing raw text, most editors use Microsoft Word. There are several excellent complementary add-on programs. These increase the editor’s productivity because they allow us to do complex tasks more quickly. One example is PerfectIt, an outstanding consistency checker that can be customized to find and fix problems including hyphenation, capitalization, spelling variance, number style, italics, super/subscript, bullet punctuation, and wildcard searches. In addition, there are hundreds of free macros available to editors, all of which are designed to complement the editor’s eye. Examples include spell-checkers, proper-noun analysis tools, homonym and homophone identifiers, Then there are onboard tools in Word such as wildcard search and find/replace to name but two. And let’s not forget Word’s ribbon, which provides quick access to a range of tools, including the Styles palette. To work efficiently, you’ll need to access these tools. As long as you know (or can learn) how to access the relevant menus via your keyboard, and assign keyboard shortcuts, I see no reason why you should be dependent on a mouse. Page-proof annotation If you’re hired to proofread designed page proofs, you’ll likely be working on PDF in Acrobat Pro, PDF-XChange, Adobe Reader or similar. You’ll need to be able to use the onboard comment-and-markup tools and possibly the stamps palette. Again, providing you can learn the keyboard shortcuts, you can minimize your mouse usage. There’s a helpful list of Acrobat shortcuts on the Adobe website: A note of caution: my concern is the impact on your speed. One of the keys to being a successful independent editor is efficiency. If you’re already a seasoned mouse-independent Word and Acrobat user, and are introducing new keyboard shortcuts into your existing knowledge base, I suspect the transition will be comfortable and the impact on your speed minimal. If you’re not familiar with these programs, the tools within them, and the access keys, you’ll need practice to build your speed. In general, though, given your extensive experience in systems development and programming, I can’t see these issues being obstacles for you, Andrew. You’ve probably forgotten more about how to navigate a computer screen than I’ve ever known! Is a degree necessary? If you want to copyedit for specialist scientific editing agencies, you’ll likely need at least a Master’s in a related discipline, even a doctorate. If you plan to work for publishers or packagers (project-management agencies) with book lists in the social sciences, arts, humanities and technology, they’ll be more interested in your professional editorial training, and your ability to perform successfully in an editorial assessment. If you wish to copyedit and proofread reports, books, journal articles, theses and dissertations for self-publishers, businesses, academics and students, focus on what you can do to solve their problems. These days, I work exclusively for self-publishing fiction writers. They’re preparing their novels for a crowded market full of discerning readers with the ability to leave critical reviews on Amazon. My job is to help them overcome some of the problems they’ll encounter on that journey, and my website focuses on that rather than on my politics degree. Did my politics degree help me when I worked exclusively for social science publishers? Perhaps. But I think my years of in-house publishing experience, marketing social science journals, helped more. When some years later I was proofreading a book for a well-known university press and Loïc Wacquant came up in the references but the diacritic in his first name had been omitted, I spotted it. It was my career experience that showed me the way, not my degree. You, too, can use your IT background to demonstrate your knowledge and experience to clients. But it will only be part of the story. Ultimately, your message will need to be about them – their problems, their concerns, their challenges … and how you are part of the solution. If you tell that story in a compelling way, you’ll build a brand identity that inspires trust and engagement, one that makes you stand out against your competitors, regardless what subject you didn’t read at university. And though you don’t want to work exclusively on IT-related material, don’t shy away from using that as your springboard. It’s what you know, what makes you special. No one’s going to hire me to edit an IT book. Why would they when they can hire someone who speaks the language and knows the subject like the back of his hand – someone like you? Specialize in what you know first. Diversify as the opportunities arise, and develop your brand identity as required. That way you’re playing to your strengths in the start-up phase. I hope that helps you on your journey. Good luck!
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.
Another email from a Parlour reader ... the answer will be of interest to anyone with similar manual dexterity issues and who is considering a career as an proofreader ...
Rachel asks:
‘I am looking into a career in proofreading. I have multiple sclerosis and need to work from home. I was wondering if you know whether any of the online courses cover the use of things such as Track Changes. Unfortunately, I have lost almost all manual dexterity and am unable to mark up on hard copy. I am, however, able to use a keyboard and mouse comfortably.’ Thanks so much for your question, Rachel. So the good news is that because you can use a keyboard and mouse, and you therefore prefer to work onscreen, professional proofreading is certainly a viable option for you (assuming your spelling, grammar, and punctuation are up to scratch, and you're ready to market your business effectively). Furthermore, there are industry-recognized training courses and resources that will support your onscreen learning. One thing we need to look at is how different client types’ expectations of what proofreading entails present challenges for you. It’s important to me that you’re forewarned about this so that you can target your clients appropriately, and communicate your service offering in a way that makes it clear what you will and won’t do. I’ll tackle that issue first and then move on to the training options available. Proofreading – expectations and possible challenges So, you’ve told me that your MS affects your manual dexterity, but my first thought was whether it also leads to fatigue. You didn’t mention this in your email, but I think it’s worth discussing for reasons that I hope will become clear. In my first decade of proofreading practice, almost all of my clients were mainstream publishers. Now I work exclusively with self-publishers (a few businesses but primarily writers of fiction). What’s clear from my experience is that the expectations of what has to be done and how it has to be done often differ depending on client type. Furthermore, how much will be done by the proofreader is often (though not always) quite different. What and how much does a proofreader do? Traditional publishers When working for traditional publishers, a proofreader is usually annotating designed page proofs. These are the pages (either paper or digital) that are almost identical to what readers would see if they pulled a book off the shelf. It’s a quality-control check of a book that’s been through developmental-, line- and copy-editing. The author has reviewed the files at each stage. Once the team is happy that the book’s ready to be laid out, an interior designer or typesetter will format the book to professional, industry-recognized standards. The proofreader’s job is to find anything missed during an extensive copy-edit, that no errors have been introduced at design stage, and that the various elements of the book are rendered consistently, correctly, and according to the design brief. In this case, the proofreader is looking at more than just spelling, punctuation and grammar. She’s also spotting problems with page numbering, chapter headings, line spacing, paragraph indentation, running heads, image captions, table and figure numbering, widows and orphans, page depth, prelims and end matter, and more. In my experience, because most of the problems in the text have already been attended to during previous rounds of editing, there might be only a few changes that warrant querying or marking up on each page. Of course, there are always exceptions to the rule, but, on the whole, most of a proofreader’s time is spent carefully reading and checking rather than marking up. That’s important for you because while your hand movement is somewhat impaired, your vision isn’t. And because you wouldn’t have to make thousands of changes, the strain on your hands wouldn’t be excessive or challenging. What and how much does a proofreader do? Non-publishers Outside of the mainstream publishing industry, things become a little more tangled. The role of the proofreader is not nearly so well defined. It’s not unusual for clients to ask for a service they call ‘proofreading’ but that a traditional publisher would call ‘copy-editing or even ‘line editing’. Here the raw text is amended (or suggested recasts to the text are made using Word’s commenting tool). Furthermore, it’s not unusual for the so-called proofreader to be the first professional to work on the text. And that means that the changes made might well run into the thousands. We’re not talking about a few amendments on each page, but hundreds per chapter, perhaps even per several pages. Of course, it does vary, but every change, every query, requires the use of one’s hands. So you need to be aware of the potential impact of this kind of work on your health, and think carefully about how it will affect your hands and your fatigue levels. I’m not saying that working for non-publishers isn’t an option for you. Rather, you’ll need to take your speed and fatigue levels into account and factor them into the time you assign to complete projects. If you're working in Word, I suspect that =2K–10K-word business documents, Master’s dissertations, journal articles, short stories, brochures and newsletters won't present you with the same challenges as book-length work of 80K–100K words will. How does a proofreader mark up? Traditional publishers Because the proofreader is usually providing a pre-publication quality-control check on designed page proofs, most publishers like the annotations to take the form of industry-recognized proof-correction marks. In the UK, these are BS 5261C:2005. Any decent professional training course will teach you how to use these appropriately. Traditionally, these annotations were made on paper but publishers are increasingly providing PDF proofs. This affords you an opportunity because you can use a keyboard and mouse to annotate the page proofs in a way that mirrors a paper markup. There are a few options, but many proofreaders use a combination of a PDF editor’s (e.g. Adobe Reader DC, Acrobat Pro, or PDF-XChange) onboard comment and markup tools and digital proofreading symbols (custom stamps). I supply free files of stamps that proofreaders can download and install in the stamp palettes of their PDF editors. These stamps conform to BS 5261C:2005. How does a proofreader mark up? Non-publishers Because many non-publishers supply Word files, you’ll be working directly in Word and using Track Changes. You’ll also be able to take advantage of several macro suites and find/replace strings that will improve your efficiency and reduce the strain on your wrists and fingers. That’s good news for all of us – with or without MS or other manual-dexterity issues – in terms of time, quality and consistency. Summary of what, how, and how much So, all in all, it’s worth your taking the time to think about the types of clients you’ll work for, how many changes you might be required to make, how those client types will expect you to mark up, what length the projects will be, how long it will take you to complete the different project types, and how all of those things fit in with your specific health condition. Professional training My two recommended online proofreading training providers in the UK are the Society for Editors and Proofreaders and The Publishing Training Centre. The SfEP has practical online courses on the technical aspects of professional proofreading, a grammar brush-up course, and editing in Word. Of the latter, the SfEP says, ‘It includes chapters on styles and templates, find & replace and wildcards, and macros. Guest chapters have been written by Paul Beverley on FRedit, Daniel Heuman on PerfectIt and Jack Lyon on The Editorium. All chapters contain downloadable study notes, exercises and model answers.’ The PTC offers a grammar course, and its flagship Basic Proofreading course. Before you sign up, I’d recommend you have a conversation with either or both organizations in order to assure yourself that the course materials are usable in a way that suits your needs. Additionally, there are numerous free online tutorials and screencasts on how to use Word’s Track Changes, so Google will be your friend here. Search for one that matches your own version of Word. The most important issue for any professional proofreader is understanding first what to change, and making sure that she and the client are on the same page, figuratively speaking, about what degree of intervention is expected and how it will be rendered. Online books and resources Here are some resources that should help you on your journey:
I hope this helps you move forward, Rachel, and wish you all the very best in your search for a career that will work for you alongside your MS rather than in opposition to it. Good luck! Further reading
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.
Can you proofread your own book? Here's my advice on what can be done, and how you can do it.
Truly, nothing beats a second pair of eyes on a piece of text, short or long. I know this all too well because I’m a professional proofreader and copyeditor, but I also write – books (yup, I've self-published four times), guides, booklets and blog posts.
And I miss stuff – not because I have a problem with grammar, punctuation or spelling, but because I’m too close to the text. I see my own writing in terms of the ideas I want to convey rather than the text in front of my eyes. That’s why I hire fellow proofreaders and editors to help make my written materials the best they can be. I don't expect those people to guarantee perfection but I do expect to them to ramp up the quality (and they've never failed me). Here’s another thing I know – the better shape the file's in, the better the price. Editors and proofreaders are professionals and, though we love what we do, we have bills and mortgages too. So, very broadly speaking, the more intervention needed, the higher the fee. There are things every writer can do to tidy up a piece of text by themselves, though. I’ve compiled them in one handy resource: The Author’s Proofreading Companion. The steps in this toolkit won’t replace a rigorous professional developmental edit, line edit/copyedit and final prepublication proofread, but they will help rid your file of some of the nasties! Here’s what the Companion shows you how to do:
Just click on the image below to get your FREE copy! 
Hope it helps! And come back soon for more handy tips and advice designed especially for beginner writers.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.  Woo hoo! Paul Beverley is now creating screencasts in which he demonstrates how to get the best from some of his wonderful macros. At the time of writing, the following are available via YouTube:
You can download all of Paul's scripts via his book, Macros for Editors. Louise Harnby is a professional proofreader and copyeditor. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders. Visit her business website at Louise Harnby | Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. |
