Want to become a professional proofreader? Discover 6 key pieces of information you must know before you embark on your new career.

• ​Getting work even if you don’t have contacts in the publishing industry
• The market for proofreading
• Why training courses are a worthy and essential investment
• Why training in itself isn't enough to get work
• Why you can still build a proofreading career without former editorial experience
• What you might earn

If you'd like to support The Editing Podcast, thank you! That means the world to us.

​‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.

Think proofreading or editing would be a good side hustle? Two professional editors tell you what you need to know so you don't make mistakes. Listen to find out more about:

• What a side hustle is and why it's popular
• Why there's resistance to the term 'side hustle' in the professional editorial community
• Whether an editorial business can be set up overnight
• The importance of skilling up and marketing
• The competition side hustlers have to deal with
• The different levels of editing
• How to find work
• Business-critical considerations

If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from: 
​

• EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
• EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.

​‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.

Find out about 4 key things you need to know if you want to become a non-fiction editor. Louise Harnby interviews Denise Cowle!

• The main types of non-fiction editing and the kinds of things a non-fic editor needs to look out for   
• Working on complex materials     
• The move to digital content and the role of the editor·     
• Ethical issues the editor or proofreader needs to be aware of
• How to Mark Up PDF Page Proofs (course)
• How to become a fiction editor (podcast episode)

‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/

Want to copyedit fiction for indie authors? Even if you have extensive experience of working for publishers, there are skills and knowledge you might need to acquire before making the shift.

Publishing has its own language
Fiction copyediting means something specific in a publishing company. It’s usually (there are always exceptions to the rule) the corrective work that focuses on spelling, punctuation, grammar, consistency and logic.

It’s important work – meticulous and detailed. It stops a character giving birth two months before she got pregnant; it spots when your protagonist’s eyes have changed colour; it flags up the trigger safety that doesn’t exist on the model of gun being described.

In the wider world, ‘copyediting’ can mean all sorts of things. It will include all of the above but might include a deeper level of stylistic work.

Some editors will use different terminology to describe their services, such that this middle-level editing – further down the chain than developmental or structural work but higher up than the prepublication proofread – is more intense.

Some editors even include developmental/structural work in their ‘copyediting’ service because their target clients fall into one or both of the following categories:
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• aren’t familiar with all the levels of editing
• are more likely to search for terms such as ‘copyediting’ and ‘proofreading’ even though the big-picture elements of their story might also need some work

The mismatch between language and need
Some editors work only for publishers. Some work only for indie authors. Some work for both.

That messy publishing language becomes problematic when everyone’s using one term – ‘copyediting’ – to mean different things.

Plus, none of us knows what we don’t know.

If an editor has copyedited fiction only for publishers, and then moves into the indie-author market, there’s a risk that their knowledge and skills match the needs and expectations of mainstream publishers, but not those of indie authors.

Many indie authors are self-publishing for the first time. They’ll expect a professional editor to know what they don’t. But a fiction copyeditor, just by virtue of having done something called ‘fiction copyediting’ as defined by publishers, might not know how to handle the stylistic issues in a book.

That doesn’t mean they’re a bad editor. It means they have a specific skill set that might not be what the indie author needs or asks for.

I’ve done all three in my time. My choice was based on the author, my schedule, and the connection I felt with the project. There’s no wrong or right, just informed decision-making.

What’s gone wrong in the editing process?
So what went wrong in that case study? This problem arises because of flawed assumptions about language and responsibility.

Language
The author and the editor are using the same language to describe different outcomes.

• The author thinks of ‘copyediting’ as a middle-ground service between developmental/structural editing and proofreading.
• The editor, who works mainly for publishers, considers ‘copyediting’ a non-stylistic type of work that comes after line editing.

What Jo needed was an editor who recognizes that ‘copyediting’ could mean something different in the author’s head – something like: Do what’s required to make my prose sing! I don’t know what those things are, but that’s why I’m hiring you.

​What she got was a traditional high-quality copyedit as defined by a different client type. It’s work that she needed, but not all the work she needed.

Responsibility
A frequent fallback position on the editor’s part is this: it’s the author’s fault because they didn’t hire the right service. Jo shouldn’t have commissioned a copyedit when stylistic work was required.

That’s flawed. She hired a professional editor precisely because they’re a professional editor. She wanted them to show her what she didn’t know.

The situation is complicated further by the fact that editors define their services differently. I offer ‘line-/copyediting’. Some of my colleagues offer the same level of intervention but call it just ‘copyediting’. Others offer two distinct services: ‘line editing’ and ‘copyediting’.

Yet others don’t even call line editing ‘line editing’. It might be called ‘substantive editing’ or ‘stylistic editing’.

It is any wonder that an indie author chooses to ignore the tangled terminology and focus on collating a shortlist of editors who have extensive experience of working for traditional industry gatekeepers – publishers?
​
That works splendidly when the editors have the skills and knowledge to go beyond what a publisher might expect from a fiction copyedit. But it can fall of a cliff when the rigidity of the terminology restricts the depth of editing required.

How can editors help fix the problem?
Editors must take responsibility for the language they use and the skills they have so that they’re fit for a diverse indie-author market. That means learning and educating.

Learn line craft
Fiction editors serving indie authors should learn line craft – the stylistic sentence-level editing that might be required.

If we don’t understand the likes of show and tell, narrative viewpoint, tense, holding suspense, dialogue craft, and so on, we should question whether we’re ready for this market.

And if we do still want to serve this market with publisher-defined copyediting, we must be explicit about the fact that we don’t offer solutions to stylistic problems in prose.

Still, being able to say we don’t offer those solutions means understanding what they are in the first place. Not recognizing them is not an option.

Educate authors
We must go the extra mile to ensure that our online and direct communications with authors explain the different levels of editing and how we define them.

A website that boasts of our achievements but doesn’t show our understanding of the craft of fiction editing doesn’t help a beginner author make informed decisions. It serves only us, not them.

That can lead to disappointment on the author’s part. And disappointment leads to mistrust, not just with the editor who did the work but with the global editorial community in general.

Editors frequently report that editing is ‘undervalued’ and ‘underpaid’. But value and worth have to be earned. So does trust.
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When an editor works with an indie author, but doesn’t have the skills to offer what’s required, or is ignorant of the fact that they don’t have those skills, it’s they – not the author – who is bringing down value and worth in the editing industry.

How can authors help fix the problem?
Writers can help themselves too. If you’re an indie author, and you’re not one hundred per cent sure about what you need, do the following:

Summing up
What publishers expect from a fiction copyeditor is often very different to what indie authors will want or need.

If you’re an editor who wants to offer sentence-level work for indie authors, think about the following:

• The language you use to describe your service.
• The indie author’s expectations.

Even if you have an extensive fiction copyediting background by virtue of having worked for a ton of mainstream publishers, there might still be a mismatch between what’s required or what’s asked for and your own definitions and experience.

​Be prepared to learn, and to show what you’ve learned when you communicate with indie authors. That’s how we build trust, value and worth.

In this episode of The Editing Podcast, Louise and Denise talk to fellow editor Maya Berger about working on erotica and adult fiction.

Click to listen to Season 4, Episode 10

• RATE AND REVIEW

Listen to find out more about:

• Does adult fiction need editing?
• Sorting out the language: pornography versus erotica
• Editing in your comfort zone
• Common problems authors struggle with
• Sub-genres and good-fit editing
• Evaluating an author's work

Contact Maya

• Email: maya.berger@gmail.com
• Website: What I Mean To Say

Editing bites

• The Book Designer
• The Hot Copy Podcast

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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.

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

In this episode of The Editing Podcast, Denise and Louise answer more questions about how to run and grow an editing and proofreading business.

Click to listen to Season 4, Episode 6

Listen to find out more about:

• Increasing organic lead generation
• Assembly Bill 5 (AB5) and the impact on freelancers in California
• The benefits of working with publishers, packagers and project-management agencies
• Content marketing: Solving clients problems
• Facebook marketing: Ads, chatbots and website pixels
• Google ads and sourcing professional expertise
• Managing impostor syndrome
• Attracting indie genre-fiction authors: content marketing and branding
• Getting work with publishers
• Ethical promotion to a primed audience
• Technical writing and copy-writing
• Choosing a business name
• Building an editorial business on a tight budget
• Using career expertise as a foundation for an editing specialism
• Choosing the right training course
• Building a marketing strategy
• Starting an editing business when we care for young children
• Scaling a business: Passive income streams, price increases, training, and premium services
• Researching markets and audiences
• Making a website visible

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

In this episode of The Editing Podcast, Denise and Louise answer questions about how to run and grow an editing and proofreading business.

Click to listen to Season 4, Episode 5

Listen to find out more about:

• When editorial projects don't arrive on time ... how to manage it and how to prevent it
• Dealing with burnout and procrastination
• How to get fiction work with indie authors
• Making time for marketing
• Increasing efficiency
• Contracts, and whether email is sufficient
• What to tell publishers when we're asking to be placed on their freelance lists
• How to link up with other editors
• Billing in different currencies
• What to include on an invoice
• Starting an editing business, and the best order for tackling branding, website creation, social media networking, marketing, and investing in productivity tools

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

Does your editorial conference budget include provision for travelling abroad? If it doesn’t, here's why you might want to consider it and what you need to factor in to make it viable.

I’m a Brit who’s been to three editorial conferences in the past 12 months. Two of them required me to pack my passport.

First up was the one day mini-conference hosted by the Society for Editors and Proofreaders Toronto Group. I travelled to Canada in early November. I bought a new winter coat for the occasion because Toronto in November is cold cold cold. The weather foxed me – it was balmy – but the conference was everything I expected. Brilliant.

Nine months later, I headed for Chicago, this time for the Editorial Freelancers Association meeting. The sunshine came as promised, not just on the lake shore but in the Swissôtel, too, where the conference took place. I received a lovely welcome and had a ball.

Three weeks after that, I was learning again, but this time in the UK. The annual Society for Editors and Proofreaders conference took place at Aston Business School. Rain threatened but never arrived, and the meeting was smashing.

Three different conferences. Three different countries. And one thing in common ...

The delegates were international.

And that’s the thing about the editorial community – we’re from everywhere, and our conferences reflect that.
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Still, attending conventions, especially those abroad, means an investment in money and time for the professional editor, so why bother? 

Being an editor isn't a national occupation
Our clients don’t all live where we live.

Take me. I’m a Brit but I’m not an editor of British novels. I’m an editor of novels written in English ... or I should say, Englishes.

And as all pro editors know, there is more than one English. And while those Englishes come with variances in spelling, punctuation, grammar conventions and idiom, all of that can be learned and understood.

And that's one of the pulls of international conferences. What better way to hone your craft than by spending time in the places where those Englishes are spoken and written, and hanging out with the people who speak and write them?

Other factors to help you decide
Here are some ideas to help you decide whether to cross the border for your editorial training:

 1. Look at the conference programme
Are there sessions on aspects of editing, or the business of editorial work, that you can’t access elsewhere?

For example, take a look at the 2019 Toronto SfEP mini-conference programme (Wednesday, 6 November). You can learn how to identify the missing parts in a fiction narrative, how to use macros, how to master templates, how to edit indexes, and how to tackle fast-turnaround editing. There’s also an optional pre-conference workshop on raising rates.

2. Who's speaking?
Are the presenters offering learning opportunities that will be easier to learn face to face? Or perhaps there are keynoters or after-dinner speakers you’d be unlikely to meet otherwise.

At the 2019 SfEP conference in Aston, bestselling crime-fiction author  Chris Brookmyre , linguist Rob Drummond, and broadcaster/writer David Crystal were all on the schedule. We learned hard ... and laughed harder because all three make what they teach memorable through humour.

3. Can you leverage being an international speaker?
Think about whether speaking at editorial events beyond your borders is something you can leverage professionally and that will pay back your investment in the long run.

Some of our potential clients value knowing we have international speaking experience because it reflects a global trust in our specialist knowledge.

4. Is an honorarium available?
If you’re prepared to speak on a specialist topic, you might qualify for financial support.

Of course, this depends on the organizer’s budget and the value they think you’ll bring to the conference, but editorial societies are increasingly recognizing the benefits of international speakers in view of the global nature of our community. Don't assume that assistance isn’t available.

Even a contribution to flight, accommodation or meals might be the tipping point for your saying yay rather than nay.

5. Can you buddy up to reduce costs?
If a flight’s involved, you’ll have to bite the bullet. If you can drive across the border, however, you can share the cost of travel. 

And how about sharing a room? I did this with my podcast pal Denise Cowle at the 2018 ATOMICON marketing conference. We halved our costs. And neither of us snored. Promise.

We’re talking about doing ACES in a couple of years. Being Airbnb buddies will be one way we’ll make it viable.

6. Find out who else is going
Face-to-face networking is powerful. Spending time with international colleagues could lead to referrals that will earn you a return on investment further down the line.

And if you have books, courses or other training materials relevant to your editorial colleagues, you could reach new markets when you take the time to put yourself in front of your audience and speak at an international event.

We’re much more likely to buy from those we trust, and while online networking is great, and the online editorial community is vibrant and generous, nothing beats getting in front of people, talking with them face to face, when it comes to building relationships and trust. 

7. Cost it out and save up
Work out what it’s going to cost. It’s all very well my talking about the benefits of international networking and learning, but I’m not going to pretend there isn’t hard cash on the line here! 

Costing it out is the first step to creating a savings plan. That way you can prepare ... if not for this year’s meetup then for one a year or two down the road. Start with the basics:

• The journey: get some ballparks for petrol, the flight, or car hire. Share where you can.
• Accommodation costs: the conference hotel isn’t necessarily the cheapest option. A motel or Airbnb might suit you better. And with a pal on board, you can save even more.
• Meals: not all conferences include meals in the price. If you’ll need to feed yourself, check out what’s available outside the hotel. In-room dining and hotel restaurants are the quickest ways to drain your budget.
• Bar money: you’ll be socializing. A glass or two might be included in the main conference dinner or reception, but otherwise you’ll be paying for your own plonk.
• Time away from work: budget for the days (including jet-lag recovery) you won't be available for paid editing work. Budgeting sensibly is as much about knowing what we can earn as knowing when we can't.

Summing up
International conferences require more planning and a bigger investment of time and money, but if you’re canny about your preparation, think in the long term, and use them as opportunities to speak, they’re hugely beneficial.

​Where will you go next? Maybe I'll see you there!

What do people say about your editing and proofreading business when you’re not in the room? Whatever it is, that’s your brand. Here’s what happens when you show who you are by talking about the problems you solve for others. 

You’ve got work coming in but your analytics make you wonder whether you should be getting more requests to quote, given the volume of traffic.

Or perhaps you’re a new entrant to the field and have just begun to think about who you want to work with and what your message is.
​
Do yourself a favour and take a look at your branding. Is it on track?

Brand blurriness
I spent the first five years of my freelance career specializing in proofreading for publishers, first in the social sciences, then in fiction.

Over time, my client base began to shift. Now, I do sentence-level editing exclusively for indie fiction authors.

Here’s the thing, though. For a long time, my website and directory entries didn’t reflect this shift. And while the content on my blog began to reflect my passion for supporting self-publishers, especially beginner writers, you wouldn’t have known this from the way I communicated my business mission in the rest of my marketing materials.

I was playing safe. I was nervous. I was getting a lot of visitors to my website and a lot of requests to quote. However, only about 25% of those requests were from my target audience – the indie authors. And while the other 75% was work I always referred elsewhere, I felt safe having that as an option.

If it ain’t broke, don’t fix it. That was my mantra. I had enough work that I wanted to do, and plenty of offers to quote for work that I didn’t want to do.

Still, I spent a lot of time sending work elsewhere. And I couldn’t quite shake the feeling that a lot of effort was going into marketing that ended up as jobs in other people’s hands. Why not just make things leaner? 

Discovering the problem
I found my courage and decided to make some changes. I amended the lead text on my page to make it clear that I was a fiction specialist.

And I readied myself for losing the 75% – those requests to quote that had made me feel all warm, cosy and safe for so long. Over the next three weeks the numbers plummeted. Most of those students, businesses and academics stopped getting in contact. 

But things were leaner. I was spending less time sending work elsewhere that I didn’t want to do anyway. I became more efficient, more productive, more focused. I was using my time wisely. I was streamlining my business. I felt great, right? 
Honestly? I’d lost my safety net. And I didn’t feel great at all. 

I reminded myself that I’d been fully booked for the past two years without having to dip into that 75%, so I should just relax. As you were – that was my new mantra. It’ll be fine – that was my other new mantra. Stop overthinking things – yet another new mantra. Louise Harnby | Mantra Queen is what I should have changed my business name to.

I took a look at my home page, my directory entries, my business cards, and I noticed something. All the passion I felt about championing my target clients was missing. 

My branding was off.

Making the message about the client
I completely overhauled my home page, resources page, my SfEP directory entry, my Reedsy profile, even my blog, so that everything started to work together in harmony.

Now I’m telling my target client group about what makes me tick but in a way that focuses on solutions to their problems. It’s all about them, not about me.

Here’s what I learned. Even if you’re findable, when your message doesn’t make your client feel like you get them, then you’re doing a lot of marketing work for a poor return.

And even if that return is enough to keep your schedule full, it’s not giving you as much choice as you could have if your message was on point.

Getting in the right gear
Being findable but having a weak brand is like driving along a motorway at 70 miles an hour in second gear. The car has to work really hard to get you where you want to go! Getting the branding right is like slipping into cruise-control.

Here’s what happened when I rebranded:
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• Within days, requests to quote started coming in thicker. I now have a 90%/10% split, but the indie authors are the larger percentage. That means more choice for me and a stronger pricing strategy.
• Authors say nice things when they ask for a quote – like ‘I love your website. I’d been nervous about finding an editor and you took that feeling away.’ That tells me I’m on the right track.
• A higher proportion of clients are prepared to wait up to a year for me than was the case before I rebranded because my brand identity talks to them. 

Sorting out our branding is the most powerful gift we can give our businesses. If we don’t understand our own brand values, we can’t expect potential clients to. Make sure yours are evident at every touchpoint of your editorial business.

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’ in the heading is what appears when they 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.

More resources

• How to Develop a Pricing Strategy (book)
• Resource library: Money matters

Here are 10 tips to help you prepare the way for editing and proofreading fiction for independent authors and self-publishers.

If your editorial business is relatively new and you’re keen to specialize in fiction editing, there are some core issues that are worth considering. Some of these certainly apply to other specialisms, but fiction does bring its own joys and challenges.

You'll need to be sensitive to the fact that your clients may not be familiar with conventional editorial workflows or the terms we use to describe them!

​Clarify what the client expects, especially when using terms like ‘proofreading’ and 'editing'.
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• Most authors who ask for proofreading actually want what editorial pros would traditionally call copyediting – checking and correcting the raw text files in Word (usually using Track Changes).
• Editorial pros themselves don’t use universal terminology. One editor’s copyediting could include developmental work, while another's could be strictly sentence-level editing.
• Offer advice on the different levels of editing, and be honest about which ones you’re capable of supplying.

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​Clarify the extent of revision required before you agree a price.
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• A final quality-control check for spelling, punctuation, grammar and consistency errors may be the least of what’s required.
• Deeper problems may exist that ideally would have been attended to at an earlier editing stage – for example, problems with clarity, plot holes or inconsistencies, repetitive words and phrases, mangled sentence structure, dangling modifying clauses – all of which disfigure the text.
• Your copyediting could well include line editing – that takes longer and has to be factored into the budget.

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​Find out how many stages of professional editing the file has already been through.
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• If you’re the first, it’s more than likely that you’ll make thousands of amendments.
• Perfection, while aimed for, will be impossible unless you have superpowers!
• Make it clear that one pass is not enough to ensure that every literal and contextual error is attended to.
• Be honest about what’s possible within the available budget.

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​What’s required according to the editorial pro and what’s desired by the client (owing to budget or some other factor) could well be two very different things.
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• You’re entitled to decline the work if you feel you can’t do what the client wants, given what hasn’t gone before.
• The client is also entitled to not take their book through four stages of professional revision if they choose. If they want your help and you think you can help, and you’re both clear about how far that help can go, then by all means work with the author. If you prefer to wave goodbye, then that’s fine too.

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​The authors we’re working with are at different stages of writing-craft development.

Some are complete beginners, some are emerging, others are developing and yet others are seasoned artists. If they’re in discussion with us, it’s because they think we can help.
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• Even the beginner and emerging writers I’ve worked with have many strengths. Perhaps the sentences are awkward and repetitive, and yet the story they support and the characters who live within the narrative are amazing.
• An editorial report that summarizes strengths and weaknesses can help the author to develop their craft. I don’t provide professional manuscript evaluations/critiques or development/structural editing. That doesn’t mean I can’t tell the client what I liked, what I think they can work on, and where they might go to develop their skills.
• My editorial reports can stretch to many pages depending on what I find. They don’t take long to produce because I use the template from my course.
  

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​Sometimes the author and the editor are simply not a good fit for each other. In the case of fiction, this can be because the editor can't emotionally connect with the story.
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• If, for example, deeper line editing is required, the editor will need to ‘get’ the author, be able to feel their way into the soul of the text so that they can polish without stripping out the author’s voice or style of writing.
• Repeating the mantra ‘It’s not my book’ can help but the ability to mimic the author is often intuitive more than anything else.
• If you don’t feel that intuition kicking in when you see the initial sample of the book – if it’s not grabbing you – it might well be necessary to walk away unless you’re being hired for micro correction work that focuses on spelling, grammar, punctuation and consistency.

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​There are challenges and benefits to fiction editing and proofreading.
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• On the one hand, fiction lends itself to flexibility with regard to strict adherence to pedantry, especially when that pedantry does more harm than good.
• Editing and proofreading fiction is in some ways nowhere near as technically demanding as an academic project with a book-length style guide attached to it and a reference list of a similar length.
• On the other hand, however, that very flexibility makes fiction work trickier too. Improving prose so that it meets publishing-industry standards while retaining authenticity of voice, flow, mood and style requires not a little artistry.
• If you've been hired to copyedit or proofread, you might not expect to have to deal with viewpoint problems. Still, they arise often enough with self-publishers that it's worth understanding how POV works so that you can query or fix. I use this guide to explain it to authors.
• Being emotionally responsive to the text is essential. That's a difficult thing to learn on a course. 
• Every change or suggestion needs to be carried out gently and elegantly so that the editor’s input is invisible to the reader. Some editors and proofreaders steer well clear of fiction; for others, it’s the best job in the world! There’s no shame in deciding it’s not for you.

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​Unless you’ve previously worked with the author, work on a short sample so that you know what you’re letting yourself in for.
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• Sometimes it’s only by actually working on a piece, rather than just reading it through, that you get a sense of where the problems are and whether you’re capable of solving them within the asked-for brief.
• This will help you to get the fee spot on, too, because you’ll be able to extrapolate how long it should take to complete the project.

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​All querying requires diplomacy, but fiction needs a particularly gentle touch.
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• Your authors have poured their hearts and souls into their novels. When you’re highlighting problems or suggesting recasts, it’s essential to get the tone right so that you don’t come across as critical.
• If it sounds like I’m stating the obvious, bear in mind that when you’re drawing attention to dangling modifier number 87 and you’re only on Chapter 5, it’s easy for notes of frustration to creep into your comments! I know this because one of my regular authors joked with me that she’d sensed this in my commenting in one of her books. Eeek! That made me pull my socks up.

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Some of our self-publishing clients are pulled a thousand-and-one ways every day. And, yet, they’ve found the time and energy to write a book. We must salute them.

Some are right at the beginning of the journey. There’s still a lot to learn and they’re on a budget; they’ve not taken their book through all the levels of professional editing that they might have liked to if things had been different.

Some haven't attended writer workshops and taken courses, and they probably never will – there’s barely enough time in the day to deal with living a normal life, never mind writing classes. They’re doing the best they can.

With that in mind, respect the journey.
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• We're professionals and we're hired to fix problems. If your author has struggled with a sentence and made an error that you think is amusing, fix it or suggest a recast, and move on.
• Don't share that error in an editing Facebook group (regardless of that group's privacy settings) so that you and your colleagues can have a giggle about it. Our clients are the people who pay our mortgages and food bills. None of us is perfect. We all make mistakes. We're hired to sort out these problems, not use them as fodder for relaxation and networking.
• Those 'closed' online groups can feel like private, intimate spaces where we can chat and let off steam with a select group of editor friends, but that's not what's happening in reality. What goes online, stays online. If you're sharing a head-desk moment, it can be seen by hundreds, perhaps even thousands of other editors, most of whom don't know you (though they might just know your author).
• If you're in doubt about whether you're oversharing, ask yourself how you would feel if you were the author. If the words 'hurt', 'offended' or 'disrespected' come to mind, you know what to do (or not to do).
• That the author's name hasn't been mentioned isn't an excuse. We are being paid to edit the words, not share unintentional blunders with 500+ colleagues. At best it's rude and unprofessional. At worst, it's a breach of privacy.
• If you need guidance from colleagues on how to recast or make sense of a piece of writing, create a fresh example that illustrates the problem and ask them for advice on that, not the original.
• Plus, if authors never made mistakes, we'd be redundant. And there's nothing funny about being an unemployed editor.

​We must always, always respect the writer and their writing, and acknowledge the privilege of having been selected to edit for them.

Those are my 10 tips for working with indie fiction writers! I hope you find them useful as you begin your own fiction-editing journey!

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

Over to Melanie ...

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

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

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

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

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

Digital workflows

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

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

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

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

​There are only a handful of questions (at the beginning and end) that are compulsory (just the usual demographics and privacy permissions). Beyond that, the sections cover the following:
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• Proofreader training and qualifications
• Taking/making bookings and negotiating fees
• The materials people proofread (end products and the formats they’re created in)
• Marking up techniques (on paper, on screen, software tools etc.)
• Collating proofs and dealing with queries
• A bit of fun (yes, really!) and sci-fi proofreading

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

Melanie Thompson is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP)​ and a CIEP tutor.

Running an editing or proofreading business is a journey, not a moment in time. Some of us will be offered work that’s not ideal because of fee, content, client type, time frame, or for some other reason.
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Some might tell us it’s a bum job, that we should run a mile. But is it? Should we? Would acceptance be a compromise or an opportunity?

The problem with ‘ideal’
Ideal is something to aim for but rarely what lands in our laps, especially in the start-up phase of a business.

• Perhaps the fee is a lot lower than we’d like or than some of our editing friends are earning.
• Perhaps the subject or genre on offer isn’t what we dreamed of when we set up our business.
• Perhaps the client is a publisher whereas we’d prefer to work with corporates.
• Perhaps the client wants the project completed in a time frame that means we’d have to work outside our preferred office hours.

The challenge of visibility
Being discoverable is a challenge for many new starters. Ideal projects are out there, but the editor or proofreader isn’t yet visible enough in the relevant spaces.

And even if they can be found, they might not yet have enough experience to instil the trust that leads to initial contact.

Broadly, it’s easier to get in front of publishers because we know who and where they are. They’re used to being contacted by us, too, so we can go direct and cold.

With non-publishers, it’s more difficult. Not every business, charity, school, indie author, or student wants an editor or understands the value we might bring to the table. Going direct and cold is a trickier proposition.

The issue of trust
It’s not just the mechanics of visibility. Emotion plays a part too, especially trust.

With publishers it’s easier to overcome the trust barrier. They know what they want, what we do, are used to working with us, speak our language, and are experienced in evaluating our competence.

Non-publisher clients are more of a challenge. They might not be familiar with the different levels of editing.

Many will not have worked with a professional editor before.

Some – for example fiction writers – might be anxious about exposing their writing to someone they don’t know.

And for the inexperienced client, evaluating a good fit is more difficult.

In the start-up phase of business ownership, editors and proofreaders with less experience might therefore find it easier to acquire work with publishers than with non-publishers.

The choices on the business journey
So visibility and trust issues mean that new entrants to the field might not have the same breadth of choice as the more mature business owner.

It might mean deciding to accept work that isn’t ideal in the shorter term.

We could describe this as a compromise, but might it in fact be an opportunity?

Does the terminology matter?
I believe the terminology does matter because a compromise has negative connotations.

• A compromise implies a cost; an opportunity implies a benefit.
• A compromise implies a loss; an opportunity implies a win.
• A compromise puts us on the back foot; an opportunity pushes us forward.

Negatives leave us feeling dissatisfied, that we’ve been ripped off, that we’re not in control. We’re more likely to begrudge the choices we’ve made.

Positives are empowering. We’re more likely to see the choices we’ve made as rational and informed.

All of this might sound like a mindset game but there’s more to it than that. Decisions to accept work that isn’t ideal have measurable benefits.

​However, we need a longer-term approach, and that can be tough for the new starter who’s surrounded by colleagues who are booked up months in advance with the work that they want.

If that sounds like you, think of your editing business like a garden.

The editorial garden
What you do this year is not separate from what will happen next year, or the year after, or five years down the road. All the choices you make on your business journey are connected.

The seeds you plant now will grow if you look after them. Give them a little additional feed and they might sprout this season ... if the weather holds and you’re lucky. However, you will not get a tree, not this year, I guarantee it. Trees come later.

If you don’t plant anything, however, nothing will spout, not now, not next year, not five years down the road. You will be treeless.

Is planting the seeds a compromise? I don’t think so. It’s the opportunity to grow a tree.

Should we begrudge all that work of watering and feeding for just a few green shoots in this season? Again, not to my mind. The effort we make now will bear fruit later.

Our businesses are the same.

A patch of my editorial garden
I thought it might be helpful to share a story about my own business journey. It’s about how I accepted work that was way below my ideal price point, and did so with pleasure, because I believed I’d be able to leverage it later.
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See these books?

• The Rats ​– this is a reissue of one of the UK’s most famous horror author’s first novels.
• Dracula – this is the centenary edition of possibly the most famous Gothic horror ever written.
• Then we have the Pulitzer-prize-winning A Visit from the Goon Squad.
• Three Moments of an Explosion is a short-story collection from one of the hottest ‘weird’ fiction talents in the market.
• And even if you haven’t read the books, you’ve probably heard of or seen the movie adaptations of The Stepford Wives and Cool Hand Luke.

These are some of the books I was commissioned by publishers to proofread a few years ago.

I proofread these books for about 13 quid an hour.

These days, I aim to earn between £35 and £40 per hour. It doesn’t always work out that way, but I hit my mark in the last financial year when I averaged out my annual project earnings. A few years ago, my aim was around the £30 mark.

Those books pictured above earned me less than half what I was aiming for. Did I compromise? Well, it depends how you look at it.

If I believe that each decision I make exists in the bubble of now, and that nothing affects anything else further down the road, then yes, I compromised. If I think that what I’m earning now is despite my decision to accept those proofreading projects, it was a massive compromise.

If, however, I decide that each decision I make can affect my choices down the road, that the walls around those individual decisions are permeable, it’s a different story. If I think that what I’m earning now is because of my decision to accept those proofreading projects, it’s a story of opportunity.

Authors make decisions to work with editors based on a whole host of factors, but the first step is deciding to get in touch in the belief that the person they’ve found feels like a good fit.

Back to trust
To take one example, those of us who edit fiction for self-publishers are asking those authors to put their novels into the hands of complete strangers.

Many of those authors have never worked with an independent editor. Some are anxious about the process of being edited. And for some, the editor’s might be only the second pair of eyes to read the text.

It’s a big ask that takes courage. And that’s where the trust comes in.

The editor who can instil trust quickly is more likely to compel authors to make the leap and hit the contact button.

And what better way to instil trust than offer a portfolio of mainstream published books written by big-name authors?

And that’s how I leveraged those half-my-ideal-fee books. They tell an anxious indie author that publishers of big-name books trusted me a few years ago. And that helps the author trust me now.

Those proofreading projects – and the £13 ph fees that came with them – encourage authors to contact me now, and trust that my £35­–£40 ph line/copyediting fee is a worthwhile investment. And I know it’s true because they’ve told me it's so.

I didn’t compromise. I planted a seed. Now the tree has grown, and I’m able to harvest the fruit. I had to wait a few years but the decisions I made then affect the choices I have now.

And that’s how an editing garden grows.

Your choice
I’m a great believer in leveraging for future opportunity. It’s not everyone’s bag. It doesn’t fit with every editor or proofreader’s business model. And that’s fine.

I offer this not as THE way of thinking, but as one approach. It’s something that those at the beginning of their journey might like to consider if they are still building visibility, but struggling with the age-old rates debate!

As independent business owners, we are free to accept or decline fees from price-setting clients as we see fit. We are also free to propose rates that meet our individual needs, regardless of what our colleagues are offering.

If you’re offered work, can see the benefit of that work for your portfolio, but can’t stomach the price, decline. But if you wish to accept, even though others tell you the price is ‘too low’ or ‘unfair’, go for it.
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The hive mind of the international editorial community is there to offer support and to share its wealth of experience, but no one knows your business and your needs better than you!

More resources

• How to Develop a Pricing Strategy (book)
• Resource library: Money matters

If we’re serious about setting up an editing and proofreading business, free resources will get us so far, but only so far.

What free is good for
Free is brilliant when we’re starting out, particularly in the following circumstances:
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• We’re not yet sure whether an editing career suits us.
• We’ve yet to establish where our skills gaps are.
• We need time to explore the lie of the land – what’s available, from where and whom, and how we’ll access it.
• We need time to get our finances in order but don’t want that to hold us back.

Free is equally great when we’re experienced but looking to shift the goalposts:

• We’re thinking about offering a new editing service but want to learn whether it’s a good fit for us.
• We’ve identified skills gaps but need to plan a staged approach to filling them – no one can do everything at once.
• We want to stick with the same editing services but focus on niche subject(s) or genre(s). That means exploring how we might expand our knowledge base such that we’re a more attractive proposition to potential clients.

Free stuff is about discovery, so that when the time comes to reach into the coffers we’re spending money in the right place.

​Free helps us to turn expense into investment.

What free is not good for
Free isn’t great in the long term because the offering usually comes with limitations. It will give us a glimpse, enough to help us on the journey. But that’s all.

The reason free has its limitations is because even creating free stuff and offering free help takes time, and time is money.
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Imagine the following scenarios:

What tasters teach us ... and what they don't
In both cases, the freebies are of exceptionally high quality and Jane and Jack learn a ton from them. Creating that content must have taken time and effort.

However, free articles, blog posts and webinars are tasters. Those kinds of things help us understand the lie of the land, and give us a deeper sense of what more we need to learn.

What they won’t do is teach us everything we need to know.

We can’t learn how to become professional developmental editors from those resources alone ... any more than we could learn to cut hair or wire a house to acceptable standards without proper training and guidance.

Same goes for marketing. Take me, for example. It’s not luck and Google that made me a strong marketer. I pay a monthly sub to learn how to do it well from professional marketers, and invest time in implementing the strategies I’m learning.

If Jane wants to become a professional developmental editor and Jack wants to become a strong editorial marketer, both need to take all those freebies and use them to make informed decisions about the money they will invest to turn their investigations into reality.

Examples might include:

• A good-fit training course
• Recommended books written by experts

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Free will help Jane and Jack make decisions. Investment will make them fit for professional purpose.

A better money mindset
It’s perfectly okay to decide that you can’t afford to run a professional editorial business ... but only as long as you decide not to run a professional editorial business.

No one on the planet owns a business that doesn’t have operating costs. Business owners have to take responsibility for training, equipment, invoicing, money transfer, software, marketing, client acquisition, office space, pension provision, taxation responsibilities, and more.

It’s true that the international editorial community is incredibly generous, which means that free resources and guidance abound on multiple platforms.

However, those who are serious about running an editorial business know they have to avoid hobbyist and employee mindsets.
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• The professional editor doesn’t say, ‘I can’t afford it.’ They say, ‘I’ll work out a budget, take it step by step, and save up for it.’
• The professional editor doesn’t say, ‘I don’t know how to do it. I need someone to do it for me for free.’ They say, ‘Can someone recommend the best ways of learning how to do it?’
• The professional editor doesn’t say, ‘How do I get out of paying for X?’ They say, ‘Is that a reasonable cost of business and will it enable me to remain in profit and increase my income in the longer term?’
• The professional editor doesn’t say, ‘I’m only looking for free stuff.’ They say, ‘Can anyone guide me towards some useful resources that will help me plan how to invest wisely?’

The shoe on the other foot – when you’re asked for a freebie
We can’t have everything we want when we want it. We have to make choices. Freebies help us make the right choices so that the money we spend actually increases our prospects and income in the longer term.

And imagine yourself on the other side of the fence for a moment.

A potential client calls you. They have a book that needs copyediting. ‘The thing is,’ they say, ‘I can’t afford professional editing. How can I get out of paying you? To be honest, I’m just looking for free stuff.’

How fast would you hang up?

Now imagine another writer calls you. ‘I’m in the middle of doing as much self-editing as I can using some free tutorials I found online and some advice from my writing group. There’s a fair way to go,’ they say, ‘but I figured I’d start saving now. Can you give me a rough idea of how much it might cost and how much notice you’d need? That way I can start planning my book budget.’

That’s the kind of client I’m excited about working with.

The editor with the same mindset will be rewarded with guidance and help because they deserve it. The editor who wants it all for nothing won’t and doesn’t.

By all means, grab all the freebies. The creators of those resources want you to have them. Making free stuff that’s invisible and unused is a waste of time and effort.

​Just don’t forget that free is the starting blocks. Investment is what gets us to the finish line!

Further reading

• “I want to be an editor – when will I start earning $?” and other unanswerable questions
• The cost of editorial training – are you hitting the mark or missing the point?
• The highs and lows of editorial fees (or how not to trip up during rate talk)
• Why you MUST market your editorial business. Part I
• Increasing editing income – raising fees and declining lower-paid work
• Who finds your editing and proofreading clients for you?
• PayPal fees and your right to profits (Erin Brenner, Copyediting)

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

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

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

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

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

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

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

Courses
I recommend the Publishing Training Centre and the Chartered Institute of Editing and Proofreading (CIEP) for foundational copyediting and proofreading training. I’m based in the UK, and those are the two training suppliers I have experience of so I’m in a position to recommend them.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

Good luck with your fiction editing journey!

If you’re feeling the pinch because publishers, packagers and agencies aren’t offering your desired fees, think about the issue from a marketing perspective.

The fees on offer from publishers and packagers are a perennial topic of conversation for professional editors and proofreaders. Some feel frustrated and anxious about the rates; others enjoy the security afforded by a stable workflow that requires no client-acquisition effort.
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It’s important to remember that not everyone’s lowest-paying clients are publishers. If yours are, it might be that you need to switch clients not types of client. Here’s my wise friend and fellow editor Liz Jones:

Here are a couple of made-up case studies. The numbers are inevitably loose – editorial earnings vary hugely depending on subject area, type of editing, country of residence, and individual experience so it’s impossible to generalize. And global comparisons are problematic because of currency fluctuations and cost-of-living variances.
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Just think of these examples as glimpses rather than universal statements of how the market is!

Case study 1: Working with publishers
Joe Word-King is a professional proofreader specializing in the social sciences. He works exclusively for publishers. In the past 12 months he’s been commissioned by 5 publishers to proofread 32 books by 32 authors.

Joe’s working day
Joe starts at 9 a.m. and finishes at 4.30 p.m. He takes an hour for lunch and 15-minute breaks every 90 minutes to give his eyes a rest.
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This means he has a total of 6 hours per day available for proofreading. During the breaks he does stuff like checking his emails, grabbing cups of tea and something to eat, and taking a little fresh air.

How he acquired those publisher clients
One found him in the Society for Editors and Proofreaders’ Directory of Editorial Services. Four added him to their freelance list after he emailed them and asked if he could take their proofreading test (which he passed).
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How the work offers come in
The publishers do the author-acquisition work. The book production managers from those presses email him to ask if he’s free to take on a project of A pages, B words, with a budget of C hours and a total fee of £D. Joe decides whether he will accept or decline the work. 

Case study 2: Working with self-publishers
Alicia Sentence-Queen is a professional copyeditor. She works exclusively for independent fiction authors. In the past 12 months she’s been directly ​commissioned by 19 authors to copyedit 19 books.

Alicia’s working day
Alicia starts at 9 a.m. and finishes at 4.30 p.m. She takes an hour for lunch and 15-minute breaks every 90 minutes to give her eyes a break.

She also spends an average of 75 minutes per day writing blog articles and sharing her content online so that her website is visible in the search engines.

This means she has a total of 4 hours and 45 minutes available per day for copyediting. During the breaks she does stuff like checking her emails and social media accounts, grabbing cups of tea and something to eat, and taking a little fresh air.
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How she acquired those self-publisher clients
Fourteen came directly from Google, three from the CIEP’s Directory of Editorial Services, and two from Reedsy.

How the work offers come in
Alicia does the author-acquisition work. She makes herself visible online so that her clients can find her. They then get in touch directly. A process of evaluation, sampling and quoting begins. Alicia offers a price for the project and waits to see whether the author will accept or decline.
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Most of the enquiries that Alicia receives don’t turn into paid work – perhaps the author doesn’t like the price, the time frame doesn’t work, or Alicia doesn’t feel she’s the right fit for the job. For that reason, Alicia needs to attract enough people for whom the price, the time frame and the fit will work.

Alicia has a change of heart!
Alicia’s heart is in copyediting and she figures that if she had a bunch of publisher clients doing all the author-acquisition work she wouldn’t have to devote 75 minutes per day to making herself visible.

She earns a minimum of £35 per hour. Given that she spends 6 hours and 15 minutes each week marketing, that time costs her £218.75. That works out at nearly a grand a month!

She and Joe are good mates so she gets in touch with him and tells him that she’s thinking about working for publishers. They chat about fees – Joe says he earns an average of £23 per hour, which is two thirds of what she’s getting from her indie authors. Given that Joe proofreads for academic presses, Alicia does a little more digging.

She talks to a few fiction specialists. The fees for trade publishers seem to be lower still, such that she could end up averaging around £18 an hour, half of what she’s earning now.

• If she started working only for publishers, she’d have 6 hours a day available for editing, meaning she’d earn £540 (£18 x 6 x 5) per week.
• If she carries on working with indie authors she can earn £831.25 per week (£35 x 4.75 x 5).

Working for indie authors is more lucrative, but she must devote over 6 hours of her working week to being visible. That’s 6 hours she could be doing something she enjoys more – editing.

What could Alicia do?
If Alicia loathes marketing and can meet her weekly needs with £540, she could take the hit and switch to working with publishers, who will do all her author-acquisition work for her and let her concentrate on doing what she loves best. Yes, she’ll earn less but she’ll be happier.
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If Alicia loathes marketing but needs to earn at least £750 a week to meet her needs, the switch won’t work. She can’t not do the marketing because the reason why she’s able to attract the clients who are prepared to pay her £35/hr fee is because she’s visible, and being visible means doing marketing.

If Alicia’s determined to switch solely to publishers, she’ll have to make up a shortfall of £210. That means reducing her monthly spend or increasing the hours she spends on copyediting.

She’ll need to decide whether either option would add a level of stress into her life that exceeds her hatred of marketing. If it does, she’d be better off maintaining the status quo!

Joe has a change of heart too!
After chatting with Alicia, Joe feels a little strung out. Thirty-five quid an hour? He’d love to earn that. Joe’s not averse to putting in the marketing work, not if he can earn the money that Alicia’s on, but it’s not going to happen overnight – Alicia told him that it took a few years for her marketing strategy to kick in so that’s she’s never without work.

At the moment, Joe doesn’t have to do anything to find his authors; the publishers do all the grind for him. Sure, he had to get those publisher clients, and he put in a lot of effort – he contacted 70+ presses initially, most of whom weren’t taking on new indie proofreaders.

Nevertheless, having now secured a strong publisher base, he sits back and lets the work come to him. There’s a cost to this, of course – someone else is finding the authors and so they get to control the price. His only control over the rate is his right to accept or decline the work.

What could Joe do?
If Joe can introduce efficiencies into the proofreading process he’ll be able to improve his hourly rate. If he’s already as efficient as he can be, he’ll need get his marketing hat on now and start building his visibility.

Over time, he’ll be able to slide out his lower-paying publishers, confident that he’ll attract enough good-fit clients to provide him with the same income stability that the publishers currently afford him.

If he needs to maintain his current earnings, he’ll have to do the additional marketing work outside of his normal office hours. In the longer term, as the visibility strategy kicks in, he’ll be able to mimic Alicia’s model and build this marketing activity into his business day.

Joe needs to decide whether the impact on his work/life balance is something he’s prepared for. He needs to set the pressure of the additional work against the anxiety born from the publisher fees, and decide whether the change is the right move for him.

Different markets, different benefits, different burdens
On the surface, it might seem like the Alicias of this world have a better deal than the Joes. But there’s more to running a business than just numbers. We have to take into account not just what we need to earn but also what we have to do for what we earn.

If you’re happy to be an editor and a marketer, you’ll be able to reap the benefits from wearing those two hats purposefully. If your heart lies in editing only, you have some choices:

• Do the promotion work anyway, even though you’d rather not.
• Suck up the (sometimes) lower fees and enjoy the stability and security of knowing that someone else is doing the stuff you’d rather not.
• Negotiate with your current publishers and see if you can increase your fees. Even a marginal increase might make the rate more palatable.
• Search for new publisher clients who pay higher rates. Again, even a small increase might make you feel happier,

I worked exclusively for publishers for a good few years and at the time it suited my life very well. I had a toddler to look after and preschool trumped business promotion. Now I have a teenager and marketing trumps Minecraft!

Plus, I happen to love marketing my editorial business so it's not a stress point for me. But that might not be the same for you.

Furthermore, the editorial market isn’t binary. Joe and Alicia might look nothing like you. You might sit somewhere in between. You might earn more than them or less than them, and have a ton of demands in your life that J&A will never experience. There’s no one size fits all.

Just don’t forget that if you’re not finding your own clients, but your schedule is full, someone else is doing the job for you.

There’s a cost to that, and it’s fair that there should be.

Further reading

• Bang for a limited buck: Liz Jones, Eat Sleep Edit Repeat
• How to make proofreading for publishers profitable: Digital efficiencies
• Increasing editing income – raising fees and declining lower-paid work
• The highs and lows of editorial fees (or how not to trip up during rate talk)
• The rates debate: Looking at the value beyond the fee

Many independent authors want to see a sample of an editor or proofreader's work prior to signing a contract for editorial services. This post discusses sample edits, why they're useful, and what they cost.

Sample edits give the author the opportunity to compare the work of several different professionals and to assess the editing or proofreading against the price being quoted.
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• For proofreading, the intervention should be primarily that of attending to any remaining snafus that were missed during previous rounds of deeper editing – micro issues such as spelling, punctuation, grammar errors and inconsistencies. Samples help the author to compare technical competence and ask, 'Who’s the best?'
  
  
• For line editing and copyediting, the intervention will be much deeper, involving not only micro corrections but also suggested recasts that smooth out and tighten up writing that’s disfigured by repetition, wordiness and awkward syntax. Here, we’re still working at the sentence level, but there’s a much higher degree of subjectivity involved.

The editor needs to be sensitive to the author’s style, the characters’ voices and the mood of the scene such that the soul of the writing remains intact.

​Samples help the author to compare editors’ technical competence and their emotional responsiveness to the text. In this case, the question is not so much 'Who’s the best?' but 'Who’s the best fit?'

What’s in it for the editor or proofreader?
Samples are beneficial for the editorial pro, too. Here are some of my reasons for doing sample edits:

Tangled terminology
Definitions of the different levels of editing vary widely from client to client and editor to editor. What X calls proofreading, Y would call copyediting.

What Y calls copyediting might be called line editing by Z. And where definitions differ, so do expectations. Working on a sample enables me to assess what’s required – regardless of the word(s) being used to describe that service.

Time: How long does it take?
Doing a sample edit shows me how long it takes to work through, say, a thousand words. That means I can estimate how many hours the project will take to complete and whether/when there’s an appropriate slot in my schedule.

A 100K-word novel that needs copyediting for spelling, punctuation and grammar errors and inconsistencies, and only a little tweaking for clarity may take 35 hours (one to two weeks in my schedule); a novel of the same length that requires a deeper line edit may take 100 hours (four to six working weeks in my schedule).

Appropriate pricing
Once I know roughly how long the project will take to complete, I can price it accordingly.

Am I a good fit?
I usually find that the process of immersing myself in the author’s words comes easily. In the case of a deeper line-editing sample, the work will certainly be time-consuming but I can feel my way through – mimicking the author so that my edits (or suggested recasts) improve and complement the original writing rather than rubbing up against it.

This isn’t always the case, though. Sometimes I’m just not a good fit – it’s not obvious how I can put the ooh! into the writing. It’s not that the amendments I’m making are technically incorrect but rather that I’m not able to find that emotional responsiveness that the client needs.

When that happens, it’s time to thank the author for the opportunity to do the sample and provide a quotation, but recommend they work with someone else.

Why I charge a fee for samples
​I usually charge a set fee of £50 for a sample of 1,000 words. Some of my colleagues offer free sample edits, so why do I charge?

My professional time has a cost to it
Every minute that I spend doing free editorial work is a minute I could be spending on paid-for work for clients or maintaining my business’s visibility (which is what leads clients to me in the first place).

Scheduling problems
Because I’m visible, I have little spare time in my schedule to fit in additional work, and certainly not free work.

It’s not as off-putting as you might think
I was curious as to whether potential clients would object to my charging for samples. In fact, since I introduced the policy last year, most enquirers have reacted to my fee positively – ‘Of course, not a problem’ is the standard response. This allows me to treat sampling like any other job I’m commissioned for.

Filtering
There have been cases, though they’re rare, where a client has asked 20 or 30 editors from my professional editorial society for a sample edit, and the chapters offered are all different. It appears that the enquirer is looking for a backdoor to a free complete book edit, farming out bits and pieces here and there. Charging for samples enables me to filter out the cheats.

The benefits of the gratis option
Charging for sample edits may not be the best course of action for all editorial freelancers.

While I’ve encountered little objection to date, there are some perfectly legitimate clients who expect a small sample to be edited for free on the understanding that an hour or two of gratis work is acceptable given the reasonable odds of securing the full project.

Here are some reasons why you might decide that free sample edits are the best option:

New entrant/low visibility
If you’re a new entrant to the field and are still building your discoverability, you might well decide that you want to take every opportunity possible to secure paying work.

And if that means doing a few small freebies here and there, that’s a price you’re willing to pay. In this case, you’d be justified in regarding free samples as part of your marketing strategy. I think this is a valid argument. In my start-up phase, I didn’t charge for samples for this very reason.

Scheduling
If you’re still building your business, you may have space in your schedule that more experienced and visible colleagues don’t have. In that case, the opportunity cost of doing a free sample will not be as high.

Continued professional development (CPD)
You could view the opportunity to do free samples as a way of developing your experience. You can apply what you’ve learned in training to live test cases.

By tracking whether these sample edits convert into commissions, you’ll be able to glean whether what you’re doing is appealing (or not) to potential clients. If you’re a new entrant to the field, sampling can be an invaluable teaching tool that gently introduces you to texts that need very different levels of attention.

The safe space
When I started up my business, the one thing that worried me was the element of surprise. What if the proofread I’d been commissioned for turned out to be a complete nightmare? What if in only reading the text, rather than actually working on it, I’d vastly underestimated the speed at which I could work and therefore undercharged?

Doing samples is a great way for the new starter to get a good sense of what they’re taking on, but in a safe space with no obligations. And because no money’s changed hands, there’s no chance of complaint because of misunderstandings over what’s on offer (from either the editor or the client).

It's not worth charging
Our international editing community is diverse, and we do a lot of different things for many different client types. Sometimes charging is more effort than it's worth. Here's Erin Brenner:

'I do free samples of up to 1,000 words. This allows me to show my value and ease any concerns about the edit. However, I work for corporate clients with ongoing work and multiple stakeholders. Charging for a sample edit would also mean getting the accounting department involved, which is more effort than its worth for both sides.'
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Make your own choice
I charge for sample edits (most of the time); others offer freebies. Some of my colleagues don’t offer sample edits at all, free or paid-for. There’s no right or wrong choice. How you decide to handle the issue should be based on what’s right for you, not on what others are doing.

Consider your availability, your stage of editorial business ownership, whether free sampling could be a marketing or CPD tool, and how comfortable you are with the possibility that some legitimate clients could be discouraged by charges.

​Think about doing a test over the course of a year – commit four months each to offering free samples, paid-for samples and no samples, and track your conversions. The results may surprise you!

Here's something to help you decide whether free, fee or test is the best approach to handling sample edits. Hope you find it useful!

And if you want a flavour of what other editors are doing, take a look at the lively discussions on LinkedIn and Facebook that emerged when I posted links to this article.

The topic of editing and proofreading rates is always hot in our community. And the 'race to the bottom' especially has been known to garner more attention than an Olympic 100-metre final. So what should we do about it?

Competing with cheap
Here in Norwich there’s a mall. In that mall is a discount store selling techie stuff ... phones, tablets and whatnot. You go into that shop expecting a deal.

It’s where people go when they’re price-shopping. Not because they’re terrible people who are always looking for cheap but because the coffers are low. Maybe the car failed its MOT and they had to find an extra seven hundred quid that month. Or they recently lost their job. Or something.

In that mall on the floor above is an Apple store selling shiny things for shiny people. You don’t go into that shop expecting a deal. You go in expecting to pay what you have to pay to get the shiny thing you want.
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It’s where people go when they’re product- or service-shopping. The coffers are flush. The car passed its MOT and the job is secure. Or something.

All clients are not the same
Now, Apple could decide not to have a store in that mall. It could say, ‘This is ridiculous. No one’s going to buy our stuff when they can get similar products from the shop on the floor below for one fifth of the price. Being in that mall is a race to the bottom.’

But Apple doesn’t say that. Why? Because it knows that the customers who come into the mall aren’t all the same. Some won’t come near its store because the prices are too high. But others – those who are looking specifically for an Apple product, those who are Apple fans, those whose cars passed their MOTs – might pay Apple a visit.

If it doesn’t have a store in the mall, Apple knows it will lose the custom of all the people who’d like to buy there but can’t because it’s decided not to set up shop ... and all because it got the hump about the race-to-the-bottom store on the floor below.

In fact, Apple doesn’t focus on the store below. It doesn’t care what that store is charging. That store can service the price-shoppers – those customers whose budgets are limited – because those customers are NOT Apple’s customers.

Instead, Apple invests its energy in making the service-shoppers – its fans – have an amazing experience ... lots of knowledgeable, passionate staff on hand, a Genius Bar, technicians out back who’ll fix or replace a product in-store or replace it, and lots of lovely shiny stuff to play with while we wait.

Apple knows that there’s room in the mall for both types of store and both types of customer.
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And it’s the same for editors and proofreaders.

Standing up for the market or hiding behind a curtain?
If you decide not to make yourself visible in particular directories or other online spaces because you know there are colleagues charging what you consider to be unacceptably low rates, and you think no one will hire you because you’re charging more, you’re assuming that all clients are the same. But they’re not.

Some clients will have low incomes or busted cars that need expensive repairs, and they will be attracted to the discount editors. Some will have more flexible budgets and will be focused on finding the right-fit editor first and foremost. Price will not be the clincher for the latter group.

However, clients can only commission services from an editor whom they know exists. If you have the hump about the race to the bottom and have decided not to join the party, you’re not standing up for the editorial market. All you’re doing is hiding behind the curtain, making yourself invisible to those clients who would have liked to work with you if they’d been able to find you.

And don’t forget that Google is the biggest directory of all. There’s no other online space with more editors in it. Some of them are cheap as chips. Has that stopped you having a website? No. The same logic should apply elsewhere.

How to be the Apple editor
Of course, we can’t have it both ways. If we don’t want to compete with discount editors then we need to get attention in a way that shifts the client’s focus away from price.

Expecting to benefit from the same footfall as the discount editor without offering a compelling alternative is just wanting to have our cake and eat it.

We need to stand out for some other reason. We need to make the client think: That editor looks perfect for me, seems to get me, is really generous and knowledgeable. I hope she’s available and that if I save up I can afford her.

Sure, the price-focused clients aren’t going to touch us with a barge pole. But that’s fine because we’re not targeting them; we’re targeting the service-focused clients.

​To be the Apple editor we need to present potential clients with an amazing experience – a story that says we have solutions, that we have their backs, that we can help them achieve their goals ... a story that persuades them we’re worth waiting for and worth paying for.

It’s about the words we use to convey our understanding of our clients’ problems.

It’s about the images we use to convey our professional values. Blurry headshots with our mates or kids in them won’t do.

It’s about how we instil trust. Telling them that we know our stuff – that we have the skills, the knowledge and the experience – is one thing. Showing them with free resources and a knowledge base that helps them more easily walk the publication path ... that’s quite another.

Time well spent on standing out
Every minute we spend worrying about what other editors are charging is a minute in which we could be building our own compelling brand identity and creating our own valuable resources, stuff that helps our potential clients feel we’re the right fit.

Every directory that we don’t advertise in because we think it’s a race to the bottom is another tick on our invisibility list.

If you’re invisible, it doesn’t matter how high your prices are. No one will hire you. Not because your prices are too high but because you can’t be seen. Being invisible is of no economic value to any editor or proofreader.

So charge what you want to charge. If you want to compete on price, go ahead. If you want to compete on compulsion, go ahead.

The compulsion route isn’t easy. It means investing time and effort in standing out – all that content marketing stuff I bang on about! It means thinking deeply about how every word of your directory entries and every page of your website helps a potential client and makes them feel that you’re just too wowser to ignore.

All that hard graft pays off though. You can sit beside the cheaper editors without fear. You can let them have the price-shoppers while you work with those who can afford you.

Just like Apple and the discount store, we’re dealing with two different markets.

​The idea that your business could be undermined by a colleague charging way lower than what you deem to be acceptable is, says Jake Poinier, ‘nonsense. Creative freelancing is a market, and only you can establish the value you bring to it. I don’t view the low end of the freelance rate scale as my competition’ (Stop worrying about freelancers who undercharge). I agree with Jake.

Honestly, there’s room for everyone. Don’t waste your valuable time on the issue. Instead, build your business, your brand identity, your visibility and your value. Therein lies success.

Want a reminder of this article? Download this free ebook to your preferred device. Head over to the Money Matters section of my Resource Library to get your copy.

Yolanda is a self-published author who wants to build a fiction proofreading and copyediting business. In this Q&A I consider the steps she should take to get her editorial business off the ground and fit for purpose.

Says Yolanda:

I am a fiction author located in U.S. and I've been self-publishing for almost 6 years under various pen names. I still work full-time (over 20 years in the administrative field), however I would like to start a freelance career as a fiction proofreader/copy-editor. I am a certified legal proofreader but outside of my day job & my own books I don't have experience proofing. I intend to use freelance job sites & my connections with self-published authors to build my portfolio. As far as blogging, I'm not sure what I would discuss since my focus is fiction & I'm not an expert yet to give other proofreaders advice.
 
What would be my next steps to transition from fiction author to fiction proofreader/ copy-editor for self-published authors as far as getting my business up & running, classes (if any), pricing, etc?
 
Hi, Yolanda!

Thanks for your question. I’ve broken down my advice as follows:

• Training
• Services
• Visibility ... especially content marketing
• Pricing

 
Training
I think you’re wise to consider training. It’s essential that your knowledge of grammar, spelling and punctuation conventions is top-notch. If it’s not, you won’t be able to correct your clients’ files to industry standards.

I'd recommend that you search for a grammar brush-up course as a first step. That will enable you to discover whether your technical knowledge is on point and if there are any weaknesses that you need to attend to. Here are a couple of options for you to consider: 

• Grammar Lion (via Ellen Feld)
• Grammar 1 and Grammar 2 (via Copyediting)

Fiction work does require an empathetic hand because editors and proofreaders are often faced with the dilemma of how to amend such that we remove errors and improve readability but respect narrative voice and flow.

However, it’s only when you know what a problem is that you can decide whether to fix it! Training is absolutely the right place to discover your weak points. Better that than via a disgruntled client.

Your second step should be to undertake professional editorial skills training. This will be of particular use to you because it'll move you into the editing mindset and away from the authorial one that you're used to.

I appreciate that you've self-edited, but editing one's own work is a very different proposition to offering professional services to paying customers, as you clearly realize. 
 
Professional training will also enable you to determine the level of intervention that each type of editing requires. In turn, that will help you avoid scope-creep and undercharging. Especially when proofreading, knowing when to leave well enough alone is an art in itself!

Here are some reputable US-based programmes to consider:

• Editorial Freelancers Association: Education
• Copyediting: Individual Training
• Editcetera: Educational Programs
• University of Chicago: Editing Certificate Program
• University of California San Diego: Copyediting Certificate

Services
You’ll need to develop a service model that differentiates between the different levels of editing. Many self-publishing authors don’t know the differences between proofreading, copyediting, line editing, and developmental editing.

Many editors' definitions vary too. And so while the lines are often blurred, especially when we compare different independent editors’ service descriptions, professional training will help you clarify how you'll describe your services so that your clients understand exactly what’s on offer.

You can see some examples of how I’ve tackled definitional issues here:

• The different levels of editing. Proofreading and beyond
• Louise Harnby: Proofreader & Copyeditor: Services

I’d advise taking a look at a range of editors’ websites to familiarize yourself with the breadth of services on offer and the way your future colleagues describe these. There’s no right or wrong. Rather, it’s all about clear communication and helping the client understand how you can solve their problems.

Visibility
Blogging needn't necessarily be your primary content platform, though I think it works well for editors and proofreaders because our wordy clients are comfortable with wordy information!

Even if you don't concentrate on vlogging or podcasting, at least think about how you can introduce audio-visual material into your marketing mix in order to stand out and offer your audience alternative ways to get what you're offering.

You don’t need to focus on colleagues either. Far from it. Fifty per cent of my content is created for beginner authors.

I’d recommend you consider using your experience as a self-published author of fiction to guide potential clients on how to navigate their own publishing journeys.

Think about what their problems and questions might be. Think about what your own problems and questions were! For example, you mentioned having used a pen name; that would be an interesting topic to any beginner author wondering whether they should publish under their own name.

Great content marketing solves problems. If you decide to blog, offer fantastic value by helping other writers solve their conundruns using all your knowledge and experience ... the rough and the smooth. Everything you’ve learned on your own journey has the potential to help others.

Don’t forget that your experience of self-publishing can be used as a unique selling point that makes you stand out. Combine that with high-quality training and you’ll be on the way to building a compelling online presence.

Consider how you might make your content visible beyond the blog (or vlog or podcast) by creating a resource hub that makes what you’ve created accessible via different pages on your website.

It’s my belief that having an individual, standout online fingerprint is essential for those entering the editorial freelancing market. There’s too much competition out there to create a website that looks just like everyone else’s. So do focus on your marketing so that over time you can be as discoverable as possible.
 
Here are a few examples:

• Louise Harnby: Proofreader & Copyeditor: Self-publishers
• Lisa Poisso. Book Editor. Writing Coach: Clarity: Tools and Skills for Authors
• Julie Gray Story Editing: Writer Resources

Pricing
Many national editorial societies have guidelines or suggested minimums for what editors should charge. I look at these but don’t use them to determine my own rates because they distract me from the important things than any pricing model needs to take account of. These are:

• What I need to earn in order to make my business viable (e.g. my expenses)
• What I want to earn in order to achieve job satisfaction
• What various clients will pay

In relation to your needs, it matters little if the Editorial Freelancers Association thinks that $30–50 per hour is a common and acceptable rate for copyediting if you need $70 per hour to keep the bailiffs from the door.

With that in mind, when you start to think about pricing, work out first what you need to earn as a minimum to make your business viable. That’s your baseline. From there you can work upwards to what you want to earn and what your clients will bear.
 
Self-publishing authors aren’t a homogeneous market when it comes to writing skill, genre or budget. Some will be shopping for an editor whose fees are lower than that which you need to earn. Others will be prepared to pay more than you want to earn. Yet others will sit somewhere in the middle.

It’s not only the budget that will vary; your authors' locations will too. And so if your potential client is based in Sweden, it’s likely that what $40 will buy in Sweden is not the same as what it will buy in the US.

Since the cost of living varies from country to country, what an American client thinks is a high rate might seem an absolute steal to the Swede. And that’s another problem with professional association pricing tables – they focus on the domestic market whereas your potential market lies well beyond the sovereign state in which you reside.

That’s why it makes more sense to build your pricing model on your own needs rather than some notion that there’s one universally applicable rate (or range) for editing or proofreading. There isn’t.

There’s some excellent detailed guidance on editorial rate-setting from Rich Adin on the American Editor blog. Start with the following:

• Business of Editing: What to Charge (Part I)
• Business of Editing: The Quest for Rate Charts

 
Sign-off
I hope all that gives you a few ideas for how to move forward, Yolanda, and I wish you well on your editorial business-building journey!

There’s plenty more information on my blog in the following archives: Money Matters, Marketing, Starting Out and Training. Dig into that and start connecting with other editorial pros online. There are lots of us on Facebook (the Editors’ Association of Earth is a good place to start), Twitter and LinkedIn ... and beyond!

See you there!

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

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

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

This week’s reader question is from a teacher of English language, literature and creative writing. She’s looking for a new direction – something beyond the school environment that will allow her to use her educational experience and existing knowledge base.

Here’s what Noella had to say:

Dear Louise,

I'm a UK-based secondary-school English teacher of language, literature and creative writing, and am looking to move into editing or publishing.

I feel that I already have some of the skills required but I'm also on a budget and would like to know how someone like me could perhaps sneak into this area of work via a recognized route that isn't too costly.

Essentially, I want a better work/life balance and to feel more in control of my career. Hope you can advise me.
 
Hi, Noella! Thanks so much for your question.

Work/life balance
Given that flexibility is important, I’m inclined to recommend the path of independent editor (freelancer), rather than working in-house. Running your own business will give you control.
​
Setting up on your own will require a lot of hard graft at the outset (as I’m sure you realize). However, it will provide you with the freedom to choose your own hours, set your own rates, and decide which projects you wish to take on.

The different levels of editing
I think it’s worth summarizing the different levels of editing as this will show you where your current skills might slot in.

• Big picture: The terminology is tangled but here we’re dealing with macro solutions that help authors to shape their work. Services include book coaching, manuscript evaluation, manuscript critique, developmental editing, structural editing or substantive editing. Writers learn to develop their novel craft through plot, characterization, pace, narrative point of view, tense and story arc.
• Sentence level: Again, the terms differ depending on whom one talks to but here we’re dealing with micro solutions that help authors to smooth, correct and polish their work. Services include stylistic editing, line editing, copyediting, proof-editing and proofreading. Writers learn to keep their readers engaged through attention to sentence flow, clarity, consistency, and standard spelling, punctuation and grammar.

There’s more information in the following articles:

• The different levels of editing. Proofreading and beyond
• How do mainstream publishers produce books? And should you mimic them? Help for self-publishers

What would suit you?
Given that you’re already immersed in teaching creative writing – albeit to a younger audience –  you might do well to focus your training on big-picture work because you could utilize an already-developed skill set.

Another route to consider is offering private writing tuition. Many first-time authors want to develop their craft, and if you enhance your existing knowledge base with specialist professional training and professional society membership, you'd have a powerful key selling point not only to local writers but those searching online too.

And if you enjoy working with secondary-school students, there’s nothing to stop you offering private tuition to them too. You’ve already proven yourself within the school sector, but this option would allow you to continue teaching while achieving control and flexibility over your working hours.
​
Training
I’ve covered the issue of training in previous Q&As so take a look at the following articles for information about high-quality courses that focus on the broader practice of editorial work:

• Are free online proofreading and editing training courses reliable?
• Q&A with Louise: Can a teacher get work as a proofreader, even with no publishing experience?
• Q&A with Louise: Which online proofreading and copyediting courses do you recommend?
• SfEP: Society for Editors and Proofreaders (courses)
• The Publishing Training Centre (courses)
• Training archive here on the blog
• Why should you bother with professional proofreading training?
• Worldwide list of editorial societies

If you do decide to focus on big-picture editing, I’d recommend specialist training. Perhaps you’ll discover nothing new, but that will be a huge confidence booster. And if there are gaps in your skill set, you’ll find out where they are and be able to rectify the problem before you begin working with clients.

Sophie Playle of Liminal Pages is an experienced developmental editor who runs two relevant courses:

• Developmental Editing: Fiction Theory
• Developmental Editing: In Practice

Also take a look at the Society for Editors and Proofreaders’ Introduction to Fiction Editing. Note that the SfEP assumes basic copyediting knowledge for this course.

Getting noticed
One of the biggest challenges for any new editorial business owner is getting noticed. Again, I’ve discussed marketing in previous Q&As, so you might like to review the following:

• Content Mavericks with Andrew and Pete (webinar programme; complementary book available shortly)

• Content Marketing Primer (book)
• Marketing archive here on my blog
• Marketing Your Editing and Proofreading Business (book)
• Q&A with Louise: Can a teacher get work as a proofreader, even with no publishing experience?
• Social Media with Purpose (Copyediting masterclass)
• SOS Marketing Strategy (free booklet)

If you were to go down the route of offering creative writing courses for beginners, consider researching local writing groups; and talk to local bookshops to see if you might publicize the courses through them.

How about your local chamber of commerce? Is there support there – perhaps local contacts who are involved in self-publishing? You might collaborate with the chamber to provide a beta course or seminar series that would help you learn what works and what doesn’t. This would enable you to mine your existing teaching skill set while expanding your local network.

And, of course, self-publishers aren’t the only market. Mainstream publishers are a superb client base with whom to build your portfolio once you’ve completed your training because they already understand the value that professional editors bring to the table.

It’s worth bearing in mind, too, that there are fewer specialist developmental editors than copyeditors and proofreaders. Moving in this direction would mean you have less competition once you begin actively marketing your new business.

Budget
One thing I can’t advise on is whether my suggestions are ‘too costly’! Price is always relative in any case. My recommendations are based on quality rather than affordability because I see no sense in suggesting training that won’t help you achieve career independence and fitness for purpose.

Your career background will offer you a strong foundation on which to build your editorial business, and if you’re prepared to combine those skills with additional professional development and a commitment to marketing, I believe you could do very well indeed.

Good luck, Noella!

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

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

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

​How to make your proofreading and editing business stand out
If you're a new proofreader or editor and you're wondering whether you should specialize, here's my advice, all packed up into a 15-page PDF booklet.

I believe that being a specialist makes sense in a global editorial market, and in this free mini ebook, I discuss how using the appropriate language helps you achieve the following goals, even if you're a new starter:
​

• Clearer communication about what you do
• Increased client trust and editor authenticity
• Improved SEO 
• Greater client engagement because you're demonstrating competence and knowledge
• Increased client attention on the solutions you offer rather than the number of years you've been doing the job

This week’s reader question is from Pritti, who’s already secured publishing work but wants to move out of her science commissioning role. Lack of practical experience and relevant qualifications are holding her back.

​Pritti says:

Thanks so much for allowing this to be a open forum/platform for beginners like me to ask questions! 

I am a 23-year-old law graduate who currently works as a commissioning editor for a online science publishing company. However, even though this has been a 'foot in the door' type of position, my heart is really set on going into trade publishing and becoming a freelance editor. 

Not only that, my position here as a commissioning editor isn't what it actually says on the tin – it's more on the commissioning side of things rather than editing. In fact, I do no editing whatsoever, in my opinion! So I feel like I'm not gaining the necessary skills I need for the industry. 

I was thinking that obtaining a well-recognized qualification would help get me noticed, as my ultimate goal is to become a freelance editor – but without gaining the necessary experience in my current role, and without the qualifications, I do feel like I'm at loss here. I've also applied for a number of roles but been unsuccessful owing to my lack of experience. Freelance agencies have also rejected my application for the same reasons – not having enough experience. 

Furthermore, there's also no way of acquiring clients where I work. Please help! 
 
Thanks so much for your question, Pritti!

I accept that your current role won’t give you the practical experience you require because you’re in a commissioning rather than production role. However, I don’t think that needs to stand in your way of embarking on training that will prepare you for developmental editing, line editing, copyediting or proofreading in a freelance capacity.

No training provider will turn you away because you don’t already have the experience! The UK’s Society for Editors and Proofreaders, for example, offers a suite of online training courses designed for novices and experienced professionals alike.

I wonder whether because you’re working in-house you’ve got yourself into a mindset of thinking like an employee. If want to work as an independent editor, you need to start thinking like an employer (of yourself). That means sorting out everything for your business from your training to marketing to administration.

Getting qualifications
My first piece of advice is therefore to sort out the qualifications issue. I’ve covered this in several previous Q&As, so take a look at the articles and the list of national editorial societies below. You haven’t told me where you live but there are several distance-learning options available (in Canada, the US and the UK, for example).

• Are free online proofreading and editing training courses reliable?
• Q&A with Louise: Can a teacher get work as a proofreader, even with no publishing experience?
• Q&A with Louise: Which online proofreading and copyediting courses do you recommend?
• Chartered Institute of Editing and Proofreading
• The Publishing Training Centre
• Why should you bother with professional proofreading training?
• Worldwide list of editorial societies

Once you’ve acquired the practical skills, you’ll be in a position to begin the journey of acquiring work. Again, though, I think you need to shift into the mindset of a business owner.

Getting work
Freelance agencies are certainly one option, but that’s a narrow approach to take given the many others worthy of exploration. Here are some additional ideas:
​

• Develop your marketing strategy. You can begin this now and add to it as you learn. Check out my books and the marketing archive here on the blog
• Join a professional editorial society and advertise in its directory
• Create a business website that shows how you can solve your target clients’ problems and what services you offer
• Create professional social media accounts (e.g. a Facebook Page and LinkedIn and Twitter profiles) that enable you to engage purposefully with fellow editors and potential clients
• Contact publishers and ask to be added to their freelance banks. I don’t mean two or three – I mean for you to get serious about it! (See SOS Marketing Strategy)

Your subject specialism
You told me that you’d like to work in the trade publishing sector. The term ‘trade’ refers to the publishing of materials for a general audience.

If you want to be found by, for example, independent thriller writers, you’re going to need to be visible, and that may take time while you build your portfolio and your SEO.

If you want to do freelance work for trade publishers (for example, Pan Macmillan or Little, Brown) you’ll might well struggle until you have more experience under your belt (unless you get lucky). I think this is something you should set your sights on further down the road.

In the meantime, focus your efforts on building your freelance business – marketing yourself and practising your post-qualification craft.

I always recommend that new entrants to the field focus attention on the market where they’re most likely to stand out. Specialize in what you know first; diversify later.

You have a law degree. I don’t. That’s why I’d never copyedit for a law student or an academic submitting an article to a legal journal. And while I have proofread law books for academic publishers, those clients never asked me to copyedit.

Your law degree means you speak a language and have a knowledge base that I don’t (and many other experienced editors don’t). You can use that to differentiate yourself.

When I began my editorial business journey, I had professional training, a politics degree and experience of working in-house for a social science publisher. I didn’t spend valuable time trying to get my business off the ground by asking Gollancz if I could proofread their SF Masterworks series (much as I would have loved to do that!).

Instead, I went and knocked on the door of social science publishers and spent several years honing my craft with politics, sociology, philosophy, economics and media studies books.

Over time, new opportunities arose as I became more visible and my marketing efforts began to bear fruit. But it did take time, and while that happened I concentrated on where my strengths lay so that I could gain experience. I believe that you need to do the same.

I think you should focus on the following client groups to begin with:
​

• Publishers with law lists
• Social science and humanities publishers (think related disciplines such as criminology, international law, public policy and administration, and philosophy and ethics)
• Legal students and scholars
• Independent authors of commercial non-fiction (this is your where you'll get your related trade experience that you can sell on later to trade publishers)

Some academic publishers also have trade divisions/imprints and so the academic work can deliver trade opportunities to the independent editor.

Summing up
I hope that helps you get your thoughts in order, Pritti. If you take things one step at a time, I’m confident you can get to a point where you’re immersed in the trade sector. But I’d recommend building up to it by playing to your market strengths.

​Good luck!

​Should you edit or proofread pornography? What if it’s erotica? Is there even a difference?

​Does sexually explicit written material deserve to be edited? What is it exactly, and what is it not? And if you want to edit it, how do you make yourself visible to its authors?

Perhaps you have strict criteria for the types or subgenres of pornography or erotica that you’ll edit. In that case, how can you communicate these to potential clients?

Here’s my take. And it is only my take. Some of my colleagues won’t touch the stuff with a bargepole. And those of us who will? Well, we all have our individual boundaries.

​What is pornography? And what is it not?
If only there were a universally accepted definition of pornography. There isn’t, alas. What you consider porn may not be what I consider porn. Or one of us might think a written work is more erotic than pornographic. Others might not even bother making a distinction.

And that’s the first thing any editor needs to recognize. The term ‘pornography’ is loaded with subjectivism and preconceptions, many of them heteronormative, so what you’re expecting and what actually ends up in your editing studio could be two very different things.

‘Pornography is notoriously difficult to define, and overburdened with assumptions concerning – at the very least – gender, sexuality, power, globalization, desire, affect, and labour,’ say Rebecca Sullivan and Alan McKee.

Oxford offers the following broad definition: ‘Printed or visual material containing the explicit description or display of sexual organs or activity, intended to stimulate sexual excitement.’

And broad it is. Too broad, in my opinion, because it doesn’t exclude materials with descriptions or displays of non-consenting performers and minors, which are illegal.
What we can say is that definitions are contested – in society, in the courts, and in academic literature.

​That makes it difficult for the editor who’s asked, ‘Do you copyedit pornography?’ because even if you think you don’t, others might think you do because they have different opinions on what constitutes porn.
​
So what do we do? I think custom guidelines are the answer, particularly if you decide to publicize the fact that you’re happy to edit sexually explicit material. Before we discuss these, let’s consider erotica.

Is there a difference between pornography and erotica?
If there is a difference, it’s unlikely that the lines of distinction so clearly drawn in your own head will be shared by everyone else you consult on the matter.

Echoing Sullivan and McKee, Leon F Seltzer notes the degree to which ‘the criteria used for distinguishing between the erotic and pornographic [are] … steeped in personal moral, aesthetic, and religious values’.

And he goes on to say that the erotic ‘doesn’t appeal exclusively to our senses or carnal appetites. It also engages our aesthetic sense.’

Tracy Cooper-Posey’s distinction draws specifically on novel-craft: erotica isn’t ‘only about sex, unlike its gutter-cousin, pornography. At its purest, the new erotic novel is a brilliantly-written story with super-nova sex that compliments the caliber of the writing, and is fundamental to the plot and characters. In other words, if you remove the sex, the story can’t be told.’

And so it may be that if you, the editor, decide a manuscript’s sexually explicit content contains enough celebration of the human form and is written to a high enough standard, or has a good enough plot, then it’s erotica. If not, it’s porn.

It seems to me that getting bogged down in the definitions will get us nowhere fast. The terminology is as tangled as that used to describe editorial services (well, maybe not that bad!).

If the author’s struggling to write well, but is trying to create erotica, who am I to say it’s porn? And if it’s just sex that aims for nothing but titillation, but it’s written beautifully, artfully, does that mean it’s no longer porn?
​
If your decision is down to the art-versus-smut argument, one thing’s for sure: you’re going to need to see a sample. And if you want to work on only certain types of material, you’ll do well to create some guidelines.

Creating guidelines to keep you comfortable
Guidelines don’t just help you and the writer decide whether you’re a good fit. They’re also a great way of demonstrating your engagement with the subject and your willingness to have a conversation with a nervous or embarrassed author.

What should you include? There’s no one way of going about this; include whatever’s important to you and what you want the author to know. Here are just a few ideas:

• Your personal definitions of pornography, erotica, and romantic fiction (or other genres and subgenres), with an acknowledgement that the author’s might differ.
• An explanation of what kinds of materials don’t constitute pornography (e.g. law-enforcement agencies, social services agencies and criminologists don’t use the term ‘child pornography’ but rather ‘child-abuse materials’).
• A summary of the laws in your jurisdiction regarding sexually explicit material.
• The genres and subgenres you’re comfortable editing, and those you’d rather not.
• Your approach to depictions of adult sexual violence and to what degree you’d feel comfortable editing this.
• How you identify (re sexuality, gender, faith, race, ethnicity, etc.) and to what degree you’d feel confident editing material in which the characters identify differently.
• Clarification that you’re comfortable with profanity.

Are pornography and erotica worth editing?
‘Even filth needs editing,’ said my colleague Louise Bolotin when she wrote about the issue on my blog back in 2012, and I agree.

The porn and erotica writers for whom I’ve worked are as committed to their writing as any crime fiction, thriller or literary fiction author.

A client recently told me, ‘I love my writing and with your help I hope it can lead to something else. If we don’t dream, then we don’t create. I’m proud of my stories but this is a whole new world for me, and like anybody who writes, there’s insecurity.’

What was I dealing with? Not plot, no. Seltzer’s and Cooper-Posey’s definitions chimed here. But my client needed a lot of help with punctuation to make the narrative readable. He’d omitted all speech marks, so the dialogue was invisible. There were repetition and syntax problems. But the writing was strong – imaginative, funny, clever, sexy – ​and in this book at least, I think he had a great turn of phrase (almost poetic at times). The pace was good, the language potent, and the sex appropriately disgraceful. All in all, I think he did an excellent job!

Even so, prior to editing, the book wasn’t publishable because it didn’t conform to recognizable standards of spelling, punctuation and grammar. The reader would have struggled to enjoy the story because they’d have been pulled out of it with every missing full point and speech mark.
​
And that’s my job (and yours) – to help the author help the reader. So, yes, I think pornography and erotica are absolutely worthy of being edited.

A word on the market
We know there’s a market for pornography and erotica. There are readers with an appetite for these genres, and writers ready to feed it. Those writers need editors to make those stories as good as they can be.

If you’re comfortable working on adult material, then you’d do well to make this clear because there seems to be a dearth of professional editors advertising the fact.

​Here are some numbers generated by searching the UK’s Society for Editors and Proofreaders’ Directory of Editorial Services and the Editors Canada Online Directory of Editors using the following key words:

​In both countries, you’ll have the least competition in these directories if you’re prepared to edit porn and erotica (unless your author hyphenates science-fiction!).

Being visible – getting work
If pornography and erotica are genres you want to edit or proofread, approach the issue as you would any other subject specialism.

The political science professor will be drawn to editors and proofreaders who make it explicit that they welcome this type of work, have experience of editing the subject matter, and provide resources and guidance that demonstrates that expertise.
Pornography and erotica authors are no different. And so:
​

• If you have some relevant works in your existing portfolio, make sure they’re part of your visible portfolio (website, directory entries for example).
• Look at the description of your website in the search engines. The following is clearly visible in mine: Proofreading and editing genres include crime, science fiction, mystery, thriller, suspense, fantasy, horror, supernatural, speculative fiction, and erotica and pornography. Make sure your website description is complete and contains keywords that you want to be found for.
• Create resources and articles that help solve authors’ problems. For example, some authors might struggle with biology, others with repetition, yet others with clarity. Some might benefit from advice on how to approach an editor without fear or embarrassment. Are there useful writing resources about pornography and erotica writing that you might curate? All this content tells the author that you’re engaged and willing to discuss the subject.
• Publishing those resources on your website will make you more visible in the search engines, especially when they’re talked about, recommended, shared and linked to.

Anxiety – yours and the author’s
Some editors are keen to take on the work but anxious that it might reflect badly on them. Does being public about your willingness to edit pornography and erotica damage your reputation?

I don’t believe so. Pornography and erotica are recognized genres. As long as we present our willingness to edit them with the same professionalism as we’d approach politics or philosophy, science fiction or romance, I see no problem.

I and several of my editor friends are open about the fact that we work on adult material and none of us has suffered problems acquiring work.

I think that’s down to the fact that we’re all committed to marketing our editorial businesses, and focusing on the value we can bring to the table.

That’s what clients concentrate on, not the things that are of no interest to them. The thriller writer cares that I work on thrillers, not that I also copyedit erotica and historical fiction.

Editors aren’t the only Nervous Nellies. Some of the writers who’ve contacted me about editing porn and erotica are anxious too. The emails usually start with something on the lines of ‘I feel a little embarrassed about this but …’ or ‘I hope you don’t mind me asking but …’

Again, guidelines and resources can help to reassure an author before they send the email.

Summing up
If you’re happy to edit porn and erotica, go for it. If you aren't, that's fine too. As independent business owners we can choose what material we want to work on and what we don’t.

Wanting to edit a particular genre isn’t enough. Make sure your willingness to edit porn and erotica is visible – on your website and in the editorial directories you advertise in. If you don’t say it, you won’t be heard.

Further reading

• Leon F Seltzer, ‘What Distinguishes Erotica from Pornography?’, Psychology Today.
• Louise Bolotin, ‘Editing Adult Material’, The Parlour.
• Rebecca Sullivan and Alan McKee’s Pornography is an accessible and highly readable exploration of the subject through an academic lens.
• Tracy Cooper-Posey, ‘An End to Euphemisms: Is Erotica Right for You?’, Tracy Cooper-Posey | Stories Rule.

Watch a video instead ...

Lisa got in touch to ask for help with getting her proofreading career off the ground. She’s feels as if she’s between a rock and a hard place because of a lack of academic qualifications, career experience and time. 

Lisa asks:

Hello, Louise! It seems that a lot of future editors have great educational experience. They can build on that to start with as a marketing tool. What can I do if I have spent 25 years raising children, and I don't have more than an associate's degree in General Studies, no experience, and not a lot of time to spend on learning marketing? I am a dog-walker and pet-sitter during the day, and I want to start marketing myself as a proofreader. Help!

Hi, Lisa! Thanks so much for your question.

I can appreciate that you probably feel like you’re banging your head against a brick wall at the moment. I do have two books that take you through the steps of editorial marketing, and one free booklet.

I’ve posted links to those at the bottom of the article. They’ll give you the detail; here on the blog, I’m going to focus on the basics and try to get you in the right mindset.

Time constraints
Time management is a tough one, but it’s something that everyone who’s set up their own freelancing business has experienced. The challenges don’t go away once we’re established either.

Take me for example. I have to find time to work on my business, too – time for marketing, time for administration, time for advanced training, time to train others! I, too, have a family and a business to run (my fiction editing work) during the day. Time for the business of running my business has to be found, and it’s tough.

That’s why I’m writing a blog post now, at 9.30 p.m. on a Monday evening on my laptop in front of the TV. The dog’s to my left, the girl’s in her room, the hubbie’s on the other sofa! My life is all about multitasking and there’s no way around it.

I know a lot of people who do their marketing out of hours, or chunks of it at least. We all have the same 24 hours in a day and we all juggle our backsides off to make it work. It’s just the way it goes. There’s no way of cheating it, no shortcut for any of us!

Here are some ideas:

• When you’re dog walking, could you listen to some audio masterclasses? Copyediting.com has a bunch of recorded classes that you could listen to while you pitter-patter with the pooches. That way you get to build your training portfolio and marketing skills, do some exercise and get paid at the same time! Yes, some of those courses will have complementary slides and written materials, but you could review those when you’re pet-sitting (rather than walking).
• When you’re at home in the evening, what are you doing? If you’re cleaning, ironing, washing or vacuuming, could you do some of these things a little less often? I’m not saying give them up completely, just cut down a little so you can devote time to your professional development and marketing.
• How about cooking? If you’re the person who takes responsibility for feeding your family, can you delegate the task to others so that they’re at least sharing the burden? You could redirect that time towards an hour of business-building. Explain to your family that they’re supporting your career. If you live on your own, might you go down the ready-meal route a few times a week? Better yet, get a cheap slow cooker. Chuck everything in first thing in the morning, go to work, come back and lift the lid. Dinner! I luuuuurve my slow cooker – healthy food for no effort!
• Do you spend time in front of the TV and take baths? I did an entire 7-hour content marketing programme in front of the TV over the course of several weeks (earphones plugged in, tablet on my lap). The course required some deep thought and self-brainstorming exercises; I did some of them while taking a long soak in the bath. In fact, I came up with some of my core brand values while in the bath! (See the resources for info on that programme).

​Do you work 7 days a week, 365 days a year? For some people in the world, that’s a reality not a horror story, and if that’s you, you have my genuine sympathy. But if you do take weekends off (or one or two other days during the week), and if you do take some annual leave, might you consider using it as a busman’s holiday – devoting it to your business (marketing, training, etc.)?

This isn’t most people’s idea of fun; it’s certainly a sacrifice. But if it gave you that 50 hours of professional training that you need to get off the starting blocks, it would be a sacrifice worth making, an investment for your future.

Training
Once you’ve borrowed some time, you need to decide what to do with it. I mentioned training briefly above but let’s dig a little deeper. You didn’t tell me what pro training you’ve completed, so for safety’s sake I’m going to assume it’s limited.

Professional training is, I think, a requirement for anyone wanting to be taken seriously in today’s editorial freelancing market. It gives you confidence, ensures you’re fit for purpose and puts you on a par with the thousands of trained colleagues with whom you’ll be competing.
​
Having pro training is no longer stand-out, it’s stand-ard. You might be worried that you don’t have time to do in-depth professional classes – you’re at work all day so can’t attend on-site training.

Above, I talked about Laura Poole and Erin Brenner’s online classes via Copyediting. The Society for Editors and Proofreaders and the Publishing Training Centre in the UK both offer outstanding distance-learning courses for copyediting and proofreading, too.

Those are just a few examples, but nailing the classes means you can demonstrate on your website that you’re a professional – with pro training, a pro attitude and pro commitment.

I believe that our marketing messages should focus on our clients’ problems first and foremost, but backing that up with training is a no-brainer. So let’s talk about marketing.

Marketing
The thing about marketing is that you can get right on it – start doing it while you’re learning it.

Perhaps there are some editorial freelancers who have client lists as long as their arms and can rely completely on word of mouth. Or they have lots of publisher clients who offer repeat work (I’ll talk about that below). But the new starter in today’s market has to think bigger.

Some types of marketing are slow burn; some can have a much quicker impact. Here are some ideas that fit into both categories:

• Get yourself a website now so that you can start building it into your shop front (just like you’re already doing for your pet-sitting/walking business).
• Create a professional editorial Facebook page to complement your existing timeline. You won’t have much to put on it right now so use it as a curation resource – useful stuff for colleagues and clients that shows you’re committed and engaged with the editorial profession and the problems your clients face.
• Use social media purposefully! I’m a great one for messing around on social media – I love seeing what people are up to on Facebook and Twitter – but I’ve learned to use it with intention, too.
  The chattering aspect is great for building relationships with editorial friends (especially as a large percentage of my edi-pals don’t live nearby), but I use it to build trust and engagement too – it’s a place where I share the resources that I and my colleagues have created to help each other (and our clients). If you’re interested, I’m presenting a masterclass on purposeful social media marketing via Copyediting.com in December (see below).
• Join a professional editorial society. I think you’re in the US, but if I’m wrong, no matter. There’s a list of worldwide pro editorial societies at the bottom of this post. If your national society’s directory has a directory of editorial pros for hire, make sure you’re in it. If you don’t qualify, use your borrowed time (or your busman’s holiday) to do what’s required to get in it. My CIEP and Reedsy profiles are valuable lead drivers, second and third only to Google.
• Once you’ve got your initial training sorted, follow the instructions in my SOS Marketing Strategy booklet (see below) and start contacting publishers. If you focus on the arts and humanities, you’ll likely not need a higher degree. Publishers are great clients, especially while you’re developing your visibility. They already know what we do and why we’re valuable, so we don’t have to persuade them; they already have their hands raised.

​And that final point leads us onto something else worth considering …

Client focus
When it comes to marketing, every editorial business owner needs to think about which clients they’re going to target. For you, this may feel trickier because you don’t have a career background that lends itself to a particular subject specialism.

Here are just a few examples that will help you develop your marketing message:

• Publishers – professional industry-recognized training: We’ve already talked about how you might secure that.
• Publishers – readiness to take a test: Publishers increasingly use tests to evaluate their freelancers. That’s because each press works differently and they want to make their own assessments of a candidate, not rely solely on a piece of paper. This could play to your advantage. Though I came into the professional with a politics degree, during my days working exclusively for publishers I proofread books in law, philosophy, economics, research methods, education … you name it! The publishers didn’t want a scholar; they wanted a pro proofreader.
• Students – many students are looking for help with language polishing. If they're not fluent in English, that you are is a selling point.
• Students – citation and reference styling. Being able to say you know, for example, The Publication Manual of the American Psychological Association, 6th ed., like the back of your hand will be a great selling point because getting citations wrong can be a grade-breaker. That’s something you can learn in your borrowed time online or by grabbing yourself a second-hand copy of the manual. The same could apply to any of the industry-recognized style guides.

Focusing your message on solutions to your clients’ problems means they see you concentrating on them rather than on you.

Imagine this … you walk into two shops, intent on buying a new pair of shoes from one or other. In store A, the assistant spends half an hour telling you about her feet. In store B, the assistant asks you about your own. Where do you want to buy your Jimmy Choos – A or B?

All of us need to make our clients want to buy editorial services from us, so we need to focus our message on their problems and their needs, not how brilliant we are. And in fact, though, we can demonstrate our brilliance precisely by being focused on them. It comes down to good old-fashioned customer service.

Hope that helps. I wish you well on your editorial business-building journey, Lisa!

Resources

• Business Planning for Editorial Freelancers (book)
• Content Mavericks with Andrew and Pete (book)
• How to Do Content Marketing (book)
• Marketing Your Editing and Proofreading Business (book)
• Chartered Institute of Editing and Proofreading (CIEP)​ (courses)
• SOS Marketing Strategy (free booklet)
• The Publishing Training Centre (courses)
• Worldwide list of editorial societies

What's different about fiction editing, and is it for you? This post explores emotional responsiveness, mindfulness and artistry. 

To keep things tidy, I'm talking in the main about line editing and copyediting because I specialize in sentence-level work, but some of the key principles will apply to developmental fiction editing too.

​Why fiction editing is a different kind of artistry
​​Have you ever tried something for the first time and found it difficult? 

Did someone review your initial effort? 

Did they outline problems before celebrating your achievement?

If so, how did you feel?

I suspect most of us have encountered this scenario at some time or other. I have, and it feels just awful. A review of anything that focuses only on the negatives – however kindly those negatives are offered – is a poor review.

​It matters not whether you’re an editor, a business executive, a marketer, or a parent; if you can’t find a single good thing to celebrate in the work in front of your nose, then you’ve not done the job properly.

When editing fiction, the ability to celebrate first is critical – more so, I think, than with non-fiction. Note that by non-fiction I’m referring to academic, technical and journalistic works, not narrative non-fiction (sometimes called creative or literary non-fiction) such as memoir or biography, where I think the editing challenges are similar to the fiction specialist’s.

In a nutshell, editing criminology requires a different touch to editing crime fiction.

It’s personal
Every writer’s book is their baby, and most writers will infuse their tomes with their own experiences. But when those experiences concern matters of love, grief, sex or despair, the process of writing – and of being edited – takes on a whole new level of intimacy.

I’ve lost count of the number of authors who’ve told me they felt physically sick at the thought of contacting an editor, never mind emailing me the file. Many feel vulnerable, exposed, embarrassed.

And why wouldn’t they? Imagine handing over hundreds, even thousands of pounds to a stranger to look at an image of you and suggest how to make it better – not just any image, mind. You’re naked in this one. For many, that’s what it feels like to be edited.

​And so the fiction editor is charged with a responsibility. And it’s huge. 

Best versus best fit
Put 10 fiction editors in a room and ask them to work on the same 2,000 words. You’ll likely come back with 10 very different samples. That’s because fiction editing is subjective. 

It’s not that the rules of grammar, spelling and punctuation don’t apply. It’s not even that they apply less rigidly. It’s rather that they apply differently.

Just a single change to a punctuation mark can affect tension, pace, mood.

One of my regular authors has a mantra: ‘Louise, as always, keep it lean and mean.’ He’s a crime writer. It’s high-octane stuff. Low on adverbs. Low on conjunctions. Short, choppy sentences. The protagonist looks over his shoulder a lot. And if the punctuation is sympathetic, the reader looks with him. 

Compare this with another recent project. It’s essentially a love story – a woman’s search for her exiled family. The tale is one of heartbreak, abandonment, reconciliation and redemption. The author’s style is more fluid, prosaic. The protagonist isn’t looking over her shoulder but searching her soul. Every change needs to reflect this.

How I go about reflecting these authors’ intentions will not necessarily be the same as one of my colleagues. It’s not that one of us is better at editing than the other. Rather, it’s how we interpret those intentions –  and seek to mimic them – that’s different.

We’re not talking about who’s the best, but who’s the best fit.

That’s something the author must decide. And it’s tricky. How does a writer search for best fit on Google, or in an editorial directory, or on social media? How do they find that elusive emotional responsiveness to their writing?
​

Gauging emotional responsiveness – the sample edit
Fiction editors don’t have a monopoly on sample edits, but there is, I believe, an added dimension here in which samples really come into their own.

Physically working on a piece of text helps every editor get a sense of the writing style, where the problems are and whether they’re capable of solving them, how long the job will take and how it should be priced.

For the fiction editor, there’s something else, though – the feel of it. It’s our first opportunity to find out whether we can get under the skin of the author. And if we can’t, it might mean walking away.

If we can’t respond emotionally to the author’s intentions – feel our way through the words and into the characters and the world they inhabit – the edit could be impaired. You can’t mimic an author seamlessly if you’re unmoved by what you’re reading.

There’s a lot of talk about authorial voice in the editing world. In fiction editing, the concept can be a tad limiting. 

• If I write a book about the business of editorial freelancing, it’ll be written in my voice. The editor has only to worry about retaining the me-ness in the text. 
• If I write a speculative fiction novel, the editor will have to consider who the narrator is. There might be multiple voices – those of the protagonist, the antagonist, a host of supporting characters. None of those voices will be identical. 

A sample edit has its limitations, of course, by virtue of size. But it gives the author and the editor a glimpse of whether that emotional responsiveness is present and how it’ll be managed on the page such that the fit feels right.

Ultimately, fiction editing is as much about the heart as the head.

The mindful rules of fiction editing
Once the author and editor have found each other, the mindful rules of fiction editing will come into play ... during the edit, and in the post-edit summary or report. Here are mine:

1. Every query or note should be offered as if talking to someone you care about – firmly, clearly, kindly, and with respect.
2. Word’s comments function should be used to tell the author what moved you as well as what needs attending to.
3. Every report should follow this structure: celebration > problem + solution > celebration.
4. Every problem should have a solution attached to it if at all possible.
5. Edit with elegance and mimic like a chameleon. 
6. Be an advocate for the author’s right to write, whatever stage of the journey they’re on.

The author should leave the editing studio feeling empowered to move forward, not reaching for a mop because their self-confidence has leaked all over the floor.

Fiction is a specialism
Fiction editing isn’t for everyone. If you’re keen to specialize in this kind of work, ask yourself where you lie on the empathy scale.

Many specialist fiction editors I know describe themselves as being a little on the oversensitive side. Terms such as introspective or contemplative are never far away. I cry at some adverts, so it’s no surprise to me that I ended up in this line of work! This emotionality can serve the fiction editor well, but it’s not something that can be learned on a training course.

That’s not to say that specialist fiction editorial training isn’t worth doing – far from it. But mindfulness is your friend, too – don’t be afraid to embrace it in your editorial practice!