FOR EDITORS, PROOFREADERS AND WRITERS

In this episode, Louise and Denise discuss writing and editing for the web with guest Erin Brenner

​Click to listen to Season 2, Episode 9

Listen to find out more about:

• Why working with web content is different from writing for the page
• In which programs should we create content for the web?
• Pre-upload checks on the writing
• Pre-upload checks on metadata links, and alt-text
• Quality control: self-editing versus third-party professional help
• How many editing passes?
• Fact-checking and authenticity
• The order of play for editing web content
• Style sheets and web content
• Language choice and style for web content

Editing bites

• Erin Brenner’s Web Style Checklist
• They Ask, You Answer by Marcus Sheridan

Other resources

• Erin Brenner, Right Touch Editing
• ‘Customer service: A cautionary tale of red flags and safety nets’ by Vanessa Plaister on the CIEP blog
• The AP Stylebook (Associated Press)

Music credit
‘‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

Every professional editor and proofreader wants to attract best-fit clients who are prepared to commit to a contract of editorial services. For the most part, bookings go smoothly – cancellations, delays, and failures to pay are unusual. Still, editorial business owners need to protect themselves ... just in case.

This article doesn’t seek to offer you a model contract or set of terms and conditions (T&Cs), though you’re welcome to look at mine for inspiration: Terms and conditions.

Instead, I want to explore some ideas about how to develop your spidey sense, and use language and tools that will repel those who’d let you down.

What does ‘delay’ mean to you?
The concept of the delay is nonsense to an editorial business owner.

If a client asks you to proofread a book, tells you the proofs will arrive with you on 10 May, and requests return of the marked-up proofs a week later, and you agree to take on the job, those are the terms: proofread to start 10 May; delivery 7 days later.

You’ll schedule the project accordingly, and will decline to work for anyone else from 10–17 May. If two weeks ahead of the start date you’re told ‘there’ll be a delay’, you’ll likely have no work for 10–17 May unless you can fill that space at the last minute. Moreover, you will be booked for another project during the period when the project will become available.

To my mind, that’s not a delay. You can’t magic additional hours out of thin air. That’s a cancellation of the project terms that were agreed to by both parties.

Make sure your T&Cs reflect this. Don’t use the language of delay if it means nothing to you. Have a cancellation policy and make it clear that confirmed bookings are for an agreed time frame, and that failure to meet the agreed date will invoke that cancellation policy.

You might decide not to invoke it as a courtesy, but having it could reduce the likelihood of having to make the decision.

Is ‘deposit’ a strong enough term?
The word ‘deposit’ should be strong enough as long as the refund terms are clear. Still, you might want to couch your language along the lines of what editor and book coach Lisa Poisso calls ‘real money’.
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I don’t refer to deposits in my terms and conditions. I call them booking fees. A fee is a payment. It’s the language of money. ‘Deposit’ as a noun has a broader mass-of-material meaning; as a verb it means to place something somewhere. Maybe, for some people, it has a softer feel to it.

Of course, anyone required to pay a deposit knows full well that the financial definition is being referred to. Nevertheless, using the language of money – a fee – might well encourage time-wasters to think twice.

The following might also work for you:

• down payment
• advance payment
• prepayment

What you charge upfront is up to you. Some editors charge a 50% booking fee rather than a flat rate. Some require one third to secure the booking, another third just before editing starts, and the remaining third upon completion of the project. You can define your own model.

Do you have a booking form?
You and a client can agree to your providing editorial services via email, and emails count contractually. But how about requiring a specific additional action, one that reinforces a sense of commitment?

Asking someone to fill in a booking form that confirms they have read, understood and agreed to your terms and conditions, including your booking fee and your cancellation policy, means they have to make a proactive decision to commit.

When it comes to filling in a form and ticking boxes, a non-committed client is less likely to feel comfortable than a good-fit one because it feels more formal.
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You can create a PDF booking form that you’ll email manually, or create the form on your website. My choice is the latter. I include it below my T&Cs. That way, the booking and the terms are closely linked.

Here’s a screenshot of mine. Notice the boxes that must be checked in order to confirm the booking.

Is ‘booking form’ a strong enough term?
Even if someone is prepared to fill in a form and check some boxes, agreeing to a contract might make them think twice. That has a more legally binding feel about it; it’s more formal. And it might be the thing that repels someone who’s going to let you down.
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My T&Cs state that the booking-confirmation form is an agreement to the contract of services between me and the client, and the phrase ‘Contract of services agreement’ is the heading is what appears when the click on the booking-confirmation form button.

Are your terms and conditions detailed enough?
In the main, your website should be client-focused. It should make the client feel that you understand their problems, are able to deliver solutions, and understand what the impact of your solutions will be.

Your brand voice should sing out loud. In my case, for example, that means using a gentle, nurturing tone.

However, when it comes to your terms and conditions, forget all the touchy-feely stuff – this is where you and the client get down to business. It’s in everyone’s interests to know what’s what.

That might mean that your T&Cs are rather dull and boring. No matter. It’s the one place on your website where you’re allowed to be dull and boring!

I feel like chewing my own arm off when I read my T&Cs but I don’t want any of my clients in doubt about what I’m offering and what they’re getting.

Think about the following:

• How much do you charge for a booking fee or advance payment?
• What are the penalties for cancellation and when do they kick in?
• Is final payment required before the edited project is delivered to the client?
• If you’ll deliver first, will payment be required immediately? Within 7 days? Within 30 days?
• Are there penalties for late payment of the final invoice?
• Does your booking form require confirmation that your terms have been read, understood and agreed to?

A non-committed client will be repelled if your terms put them at risk. A good-fit client will feel reassured that they’re dealing with a fellow professional who takes the editing work as seriously as they do.

Are the basics front and centre?
Many editors place links to the detailed contractual stuff in their website’s footer, which means the T&Cs are almost invisible. Even a good-fit client probably won’t see or read your T&Cs during their initial search for editorial services.

That’s the case on my website. If it’s the same for you, consider placing the basics front and centre.

I’ve created a box on my contact page that spells out the non-refundable booking fee I charge.

Will it put off some potential clients? Absolutely. But if someone can’t afford that booking fee or doesn’t dare take the risk of making a payment because they’re unsure whether they’ll honour the contract, they’re not the right client for me.

Spotting red flags
Developing your spidey sense can reduce the likelihood of becoming entangled with those who’ll back out of confirmed bookings or fail to pay.

Though there’s no foolproof way to protect yourself from non-committed clients, there are red flags you can look out for:

• The person tells you they want to go ahead and hire you for a specific time frame but doesn’t fill in the booking form, or you have to nudge them several times. This could indicate that they’re not yet committed to working with you.
• The person fills in the booking form but fails to pay your booking fee. This is a strong indicator that the funds are not in place, and might never be.
• The person fills in a booking form and pays the fee but seeks to change the terms they booked under. This is a strong indicator that they’re not in the right mindset to commit to your editing services.
• The person is consistently slow to respond to emails during the initial discussion phase, and needs frequent nudging about the state of play. This might indicate that they don’t take your business offering seriously.
• The person gives you conflicting information about what’s required, or repeats questions about money and dates that you’ve already answered. This indicates they’ve not read your correspondence properly, which could lead to problems later.
• The person hasn’t begun the writing process, or has but isn’t sure when they’ll finish. If you don’t keep in regular touch with the client to check the project’s on track – which is time-consuming – the project could go off the rails and you’ll be none the wiser.

Summing up
I hope these tips help you avoid non-committed clients and safeguard your business. Even if you implement some of my ideas, there are no guarantees unless you ask for 100% of your fee upfront. However, rest assured that most clients are honest, committed and trustworthy individuals who are a pleasure to work with.

As for those who blow you out, a few are scoundrels. Others aren’t but are thoughtless and haven’t taken the time to understand the emotional and financial impact of cancellations and non-payment. Others have got cold feet. And some have been struck by unusual or extraordinary circumstances like bereavement. Most don’t mean to cause distress or place editors in financial hardship, even though those are two very real potential outcomes.
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By using real-money language and action-driving tools, we can build stronger bonds of trust with those who are serious about working with us, and repel most of those who aren’t.

Here’s how to build a knockout editing portfolio page even if you’re relatively new to the field.

Deciding what to include, what to omit, and how to lay it out so that it grabs a potential client’s attention can be tricky. If your business is new you might not have a lot to shout about. If you’re established, you might have too much.

One thing’s for sure, though – an editing site without a visible portfolio is at a disadvantage. It’s the next best thing to the social proof of a testimonial because it demonstrates that you practise what you preach.

Using stories is a method every editor can use to bring their portfolio page to life.

Moving from mechanics to emotions
Stories are lovely additions to any portfolio page because they give us the opportunity to take our potential clients behind the scenes ... to show them how we helped and how the project made us feel.

That’s important because it shifts the attention away from mechanics and towards emotion.

Those of us who work with non-publisher clients such as independent authors, academics, businesses and students are asking our clients to take a big leap ... to put their project in the hands of someone they’ve never met, and pay for the privilege.
It’s a huge ask and takes not a little courage for some. Think about it from the client’s point of view:

• An indie author has put their heart and soul into a work of fiction. It’s personal. They’ve used their own experiences to give life and depth to their characters.
• An agency has developed a series of advertisements for a big-name corporation. It’s not just the agency’s rep on the line. There’s a global brand at stake.
• An academic whose first language isn’t English is submitting their research to a peer-reviewed journal. Getting published could be career-changing for them.

These clients will be looking for an editor they can trust, someone who gets them, understands what their problems are and can solve them without making a song and dance about it.

Trust is something that is usually earned over time – think about your friendships and partnerships. Editors and their clients don’t always have the luxury of time. What’s needed is something that will fast-track the growth of trust.
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Word-of-mouth recommendations are fantastic for this. Testimonials from named clients are also excellent social proof. Portfolios work in the same way. The problem is, they can be boring.

A partial screenshot of my boring but useful list!

The list: boring but powerful
I’m not going to suggest you dump your long lists. Boring though they may be, I believe there’s power in them, and for two reasons:
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• Keyword juice: Book and article titles, and author names can be good for SEO. Some years ago, I secured a proofreading job with an academic who’d come across my website while searching for information about a social theorist. One of the theorist’s books was included in a bullet list in my academic portfolio, and the page popped up in Google’s search results.
• Demonstration of experience: Lists of completed projects can pack a punch because they show at a glance that you can do what you say on your editing tin.

So, if you want to keep your long lists, do so. I have. Make them more accessible and aesthetically pleasing by breaking them into subjects or genres.

Add thumbnails of book jackets, journal covers or client logos (subject to securing permission from the client).

Use a carousel or slideshow plug-in to show off multiple images without cluttering up the page.

Adding pizzazz with stories
​Now it’s time to add the wow factor. Stories take the portfolio one stage further. They’re basically case studies of editing and proofreading in practice. Can you recognize yourself in the following list?

• The established editor: You have a long, boring list but you want to keep your visitors awake.
• The NDA-bound editor: You’re prevented from publishing a long, boring list because of the non-disclosure agreements you’ve signed.
• The new editor: You’d love to have a long, boring list but that’s not yet your problem. Filling space is.

Stories work for all three groups of editors:
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• The established editor: You can focus on two or three projects and talk about what the client was looking for, how you helped, what you loved and what you learned.
• The NDA-bound editor: You can omit brand names and concentrate on the client’s problems, how you solved them, and what the outcomes were.
• The new editor: Even if you’ve completed only 4 projects, you can make your portfolio page sing by going deeper into the story behind the editing project.

What to include
It’s up to you what you include but consider the following:
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• The ideal client: What kind of voice will be most compelling to them? What’s worrying them, and how might you fix that? How do you want them to feel when they’re on your website?
• Your brand values: What do you stand for? What makes you tick? What excites you about your job?
• Problems and solutions: What challenges have you faced, how did you overcome them and what was the result?

 
​Crafting stories about relationships
​If your home page is all about the client, the portfolio page can be all about relationships. By crafting stories for our portfolios, we can invite potential clients onto the stage and let them experience – if only fleetingly – editing in action.
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And because the case studies are real, they’re a powerful tool for knocking down barriers to trust. They show a client how we might help them, just as we’ve helped others.

Here's how to organize your best proofreading and editing resources so that they're visible and usable to your ideal clients.

Learning centres for proofreaders and editors
I have two learning centres on my website, one for authors and one for editors.

Each topic has an image. Clicking on that picture takes the visitor to a section further down on the page that contains useful relevant content. Maybe it's a blog post, a Word file, a PDF booklet, a video, podcast or an Excel spreadsheet.

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

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

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

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

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

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

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

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

3. Learning centres reinforce your brand
Learning centres are perfect for reinforcing your brand identity because you can create a uniform look and feel by theming your images with consistent brand colours, fonts, and design.

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

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

4. Learning centres demonstrate your expertise and arouse clients’ emotions
With a learning centre. you can offer a chunk of accessible information that solves multiple problems. That presents you as an expert who sees the big picture.

It’s not a labyrinthine process of discovery that involves extensive scrolling or putting the right keywords into a search box. Rather, you hit them in the heart with a message that you’re on their side and have their backs.

It’s about arousing powerful emotions. In episode 3 of Content Mavericks, pro content marketers Andrew and Pete argue that high-arousal messages like awe, excitement, relief, and love are much more likely to generate engagement than lower-arousal messages like contentment. ‘When we care we share … Figure out a way to make people care about your message or your offering.’

If your learning centre can generate excitement in your potential client – make them feel that they’ve found an editor or proofreader who’s completely on their wavelength, someone who’s demonstrably in touch with their struggles, and is offering resolution – that’s a powerful message.

And it’s one that’s more likely to get your visitors telling others about who you are and what you’re up to, and have them clicking the Contact button.
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5. Eye candy
I cherish my blog. I’ve lovingly filled it with articles on a weekly (mostly) basis since 2011. But things can get messy. There’s a sidebar with a subscription button, an RSS button, a search box, an archive by subject area, an archive by date, some links to my books, and more.

Plus, I love to write meaty posts. Most of my articles are at least 1,500 words long. And while I do include images and header stamps that summarize what’s included in each post, there’s an awful lot of text.

That’s not all. There’s a lot of scrolling to do if someone wants to glimpse what’s available on one page of the blog. A learning centre is much easier on the eye and allows my author visitors to see at a glance what’s on offer.

6. Segmentation
Back in the day when I worked exclusively for publishers, my blog posts were aimed at my colleagues. These days I work exclusively for indie authors, and now I’m creating content for them, too. So I have two audiences, and two types of content. It’s about a 50–50 split.

Creating learning centres helps me to segment my website so that the right people can find the relevant content. This is particularly important for my author audience because most of them don’t yet know me. They’re less likely to bounce around in my blog, diving from one archive to another in a bid to find what they need.

Many of my colleague visitors do know me, at least in an online capacity. And so they have a little more patience because I’ve already built a trusting relationship with them. They’re more likely to spend time rooting around the blog for what they want. Still, I've created an editor resources page for them because I want them to find stuff easily.

Show off what you’ve got planned
What if you have a ton of great stuff in your head or on a to-do list? Perhaps it's already in production, out with the proofreader, or scheduled for publication sometime in the next few months. None of that stuff is visible on your blog.

Your blog only tells people about what’s available. What’s coming might be equally appealing. They might be more likely to get in touch if they can see exciting things in the pipeline. In that case, upload an image with a 'forthcoming' caption.

​8. Learning centres encourage ‘you’re worth it’ moments
Certainly, a great resource library will increase the likelihood of your visitor hitting the contact button, but not everyone will be ready to make that commitment.

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

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

Summing up
Make your wonderful editorial content easy to access. Whether it’s a blog, a vlog, a podcast, or something else, help your potential clients navigate their way around your resources and show them all the marvellous stuff on offer.

Tell them who and what it’s for – how it helps, which problems it solves.

And make sure it's designed uniformly (Canva is your free friend – trust me!) so that the resources look like they're part of a stable. That way it’s not a hotchpotch of stuff; it’s valuable, client-focused content that represents you, your editorial business, your professional values, and your mission – your brand identity.

Today's article is all about optimizing your proofreading or editing business website so that it works for clients using different device types.

My website is the single biggest driver of my proofreading and copyediting work. It’s therefore essential that it shows potential clients my best face.

​I’ve spent years tinkering – tweaking current content, adding new information and removing text and images that have outgrown their usefulness.

Weebly, like many web-hosting services, allows me to optimize my website for mobile devices.* ​

​It takes my chosen desktop theme and adapts the design for optimal viewing on a smaller device such as a tablet or mobile phone. This function has been available for several years. I can’t remember when I became aware of it, but I figured it made sense to switch it on because I couldn't imagine anyone with a smart phone having the patience to navigate through my content if it wasn’t mobile friendly. I congratulated myself on being so forward-thinking, and carried on as normal.

Note: If you're unsure whether your website is mobile friendly, it's easy to find out. My colleague Averill Buchanan alerted me to Google's Mobile-Friendly Test site.

Is it pretty, or pretty awful?
Most website-hosting services help non-designers like me to make our websites look pretty. They give us dividers, shaded boxes, spacers, columns, textboxes and image placers to enable us to put our content exactly where we want it. The result is that on the desktop version, at least, everything looks just so.

You might be the kind of person who likes to keep things simple – you might have opted for minimal text on your site, and the text you have placed might not be broken into separate textbox elements. To date, I’ve not been this kind of person. I’ve overly complicated things, and, I might add, it hasn’t done me any favours. Here’s just one example.
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This is the contact information on my site:

Now, back in 2011, when I first typed this information into my contact page, I didn’t like the vertical alignment of the information after the colons. Weebly doesn’t allow tabbing, so I created two textboxes (below, outlined in red) and placed them next to each other in two columns.

Okay, so it was never going to win a design award, but I’d achieved my goal. However, there was a problem – it looked perfect in the desktop view, but the mobile layout was a disaster:

This wasn’t Weebly’s fault, it was mine. Weebly’s mobile optimization tool was working perfectly logically – finding content in a single textbox and ensuring that said content remained unbroken.

The solution was simple – I had to restore my original layout, putting all the text back into a single box – but the impact was huge.
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It did mean sacrificing the alignment issue that I’d had a bee in my bonnet about, but it was worth it. Now my mobile display looks like this (on iPhone 6):

It’s not perfect (there are unsightly end-of-line breaks on smaller mobile screens), but it’s a far more sensible and logical design for my mobile visitors. I’ll shortly be making decisions about how to reword this information so that I can remove the unwanted wordbreaks – it needs some care because I don’t want to compromise the design of the desktop view.

What devices are my visitors using?
The crux of the matter here is that I want to put myself in my customers’ shoes. I need to bear in mind the following:

• Different customers will use a variety of different devices to access my content. For example, not all customers have a smart phone; and even if they do have one, they might prefer to access web content on a larger screen.
• One customer might use multiple devices to access the same content. For example, I tend to access web content using my tablet at home during the evening, my phone when I’m out and about, and my desktop during working hours.

A webpage that looks perfect on a mobile might be less pleasing to the eye on a desktop screen, and vice versa.

I’m under no illusion that I can optimize my design for every potential client all of the time. But paying attention to the mobile display has been a learning experience for me.

​I’ve discovered that I’ve not been showing my best face, and that’s simply not an option in the current market. I know this because my data tells me so.

Looking at the data
Honestly, I’ve only recently started looking at data about which devices my visitors are using. The following was taken from one of the analytics programs I use, StatCounter.

​The above image shows two days’ worth of data (8–10 October 2016). A whopping 30% of my visitors used mobile phones and tablets to access my content.

Some tablet screens are big enough to make browsing my website in desktop view perfectly palatable, so some of the visitors using these devices may not be looking at a mobile view.

Here’s the thing, though – I don’t know which view they’re seeing and it’s not under my control. It’s therefore important that I do what I can to put my best face forward, just in case.

​Even one lost customer who searched and found me via their mobile, and then dismissed my services because my content was illogically presented, is something I want to avoid.

The view from an expert
My friend Andy McNair, who’s forgotten more about website analytics than I’ll ever know, pointed out that two days’ worth of data could be horribly skewed by a range of factors. He prompted me to dig a little deeper using my Google Analytics historical data.

Says Andy in relation to industry at large:

I followed Andy’s advice and compared data in four quarters (August–October) from 2013, 2014, 2015 and 2016.

• The percentage of mobile-user visitors has more than doubled. In 2013 it was 1 in 10. In 2016 it's 1 in 5.
• Tablet use has remained relatively static.
• The desktop view still easily dominates.

This rather basic analysis supports Andy’s industry view and has encouraged me to continue to work on my mobile optimization to ensure that it’s user-friendly, while respecting the fact that desktop visitors are still the most important group. Therefore, mobile responsiveness mustn't come at the expense of the desktop-user experience.

When thinking like a editor isn’t enough
This exercise has shown me how, until recently, my website design was dominated by two modes of thinking:

1. I think like a desktop user, as I’ve primarily used a desktop or tablet to view content, and I’ve accessed that content in desktop view.
2. I tend to consider the design of a webpage from a human visual point of view, rather than from the point of view of an automated tool. I’ve failed to consider the logic of automation – for example, what is the widget looking for when it ‘decides’ to move several horizontally displayed elements into a vertical layout?

I now know that I need to think less like an editor and more like a designer and a potential client when I’m building webpages.

Taking the long view
Keeping an eye on user behaviour is a work in progress, but I'm on the case. Four years ago, mobile usage mattered less. Now, to me, it matters twice as much (though the desktop-user group is still by far the most important). 

So, take a look at your analytics to assess what devices your visitors are using.

If mobile has become more important and your website host allows you to easily optimize your design for mobile devices, without compromising your core visitor group, do use the function. But check that the results are showing your best face. 

​A few small tweaks could make a very big difference.

​More importantly, they could turn a closed page into a closed deal.

* If you’re a Weebly user, and you’re not sure whether you’ve optimized your website for mobile devices, open up your dashboard, go to your site, click on the Settings tab on the ribbon, scroll down to Mobile, and make sure the ‘Display the mobile-optimized version of this website when someone visits from a mobile device’ box is ticked.

To take a quick look at how your content is being displayed on mobile devices, choose the Build or Pages tabs from the ribbon, and click on the Device Switcher icon (also on the ribbon).

A word of caution: I’ve found that after toggling back and forth between the desktop and mobile views in Device Switcher, I have problems making some types of amendments to my content (for example creating bullet points, italicizing and moving textboxes). Don’t worry if this happens to you. Simply exit Weebly and reopen; you’ll be able to amend as required.

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 join Louise’s Writing Library. Members receive monthly updates featuring self-publishing news and resources.

Jump-to coding is handy for when you have a webpage with a lot of information on it and you want your readers to be able to jump to key headings with ease.

Jump-to code is really easy to incorporate even if you’ve no experience of coding.

Most of the popular DIY website builders such as WordPress and Weebly include html boxes that you can write your code in.

Simplified example 
You have three headed areas on a page you want your readers to be able to jump to: Training, Qualifications, and Recent Clients.

Here is the code you could place in your html box at the top of your page:

Jump to <a href="#train">Training</a> ● <a href="#quals">Qualifications</a> ● <a href="#rc">Recent Clients</a>

This would appear as:

Jump to Training ● Qualifications ● Recent Clients

If you don’t want to use the words “Jump to” you can change them to whatever you want. The same applies to the bullet points. For example, you could use the following code instead:

For more information click on the following: <a href="#train">Training</a> | <a href="#quals">Qualifications</a> | <a href="#rc">Recent Clients</a>.

This would appear as:

For more information click on the following: Training | Qualifications | Recent Clients.

Now place the following code in an html box just above the section of the page with training information:

<a name="train"></a>

Then you would place the remaining two html boxes (with the amended code) just above their respective sections:

<a name="quals"></a>
<a name="rc"></a>

In the above example "#quals" could be rendered in any way you wish ("#q", "#qualifications", "#qu") as long as you ensure the abbreviated version in the above-heading code is the same (<a name="q"></a>, <a name="qualifications"></a> ,<a name="qu"></a>).

Some of you may have websites that allow you to do this automatically, without going through the rigmarole of coding yourself. However, if you do have to embed your own code then I hope the above example demonstrates that you don't need to be an html wizard to get the desired results.