|
Here's another reader question about proofreading and editing ethics ...
This recent question was submitted by a colleague who wishes to remain anonymous. I’m calling him Johnny. He says:
I'm just starting my freelance copyediting and proofreading business, working with authors. My client has a publishing contract with a small independent press. He’s published three novels with them to date. My client said: ‘I always like to have an external person read my work before I submit it [to my publisher], so perhaps you could let me know what it would cost.’ The pre-submission editing work in the past was carried out by writer friends rather than an editorial professional. We’ve agreed on a price and what should be included. The price is more of a token payment because this is my first client and he's writing a series. Is this the right way to go? Why pay me to copyedit and proofread his work to make it as error-free as possible before he sends it off to his publisher? Surely they’ll want to go through a batch of revisions for which he’ll need to pay. Much as I'd like the work, should I tell him that the publisher will handle it and that he should save his money? Or am I making assumptions about the small-press publishing process that I shouldn't be? Louise, I want to do this right – he’s already agreed to introduce me to his publisher as a freelancer, whether I do the work for him or not. However, if I do a good job, his recommendation will be more qualified. So, I'm wondering what your thoughts are and what you would advise in this situation.
Thanks for your question, Johnny! It’s not unusual for an editor or proofreader to be confronted with this conundrum. Here’s my take on your situation ...
There’s quite a bit going on so I’m going to consider the following, just so you get a sense of the big picture:
The client’s preferences, motivation and knowledge One of the things that stood out when I read your email is that your client was explicit about his preference for commissioning third-party editorial work prior to manuscript submission. True, he hasn't paid for this work in the past because he's used writers rather than a professional editor. You and I both know that being a good writer does not a professional proofreader or copyeditor make! What pleases me is that he recognizes this too. I think he’s willing to pay because he believes you’ll bring additional value to the table. I think he also recognizes he’s getting a good deal here. And he is. I’ll talk about this in more detail under ‘Your token fee – precedent versus leverage’. For now, let’s accept that while this is costing him more than if he’d tapped a writer pal on the shoulder, it’s not costing him anywhere near what he’d have to pay if you’d offered him your standard fee. And that’s a motivation for him to work with you. He knows you’re new to the business and he might well have figured that he’s going to get a pro service for an amateur price. And while you're worrying about whether you’re exploiting him, he might be thinking that this is nothing short of a win for him. I’d be inclined to agree! He’s also not new to the publishing process. He has three novels under his belt with this press, so he understands how they work and what they’ll do for him. You, however, are in the dark. Which leads us nicely on to ... Editorial processes in small presses – who pays, and for what? You’re right to question your assumptions about small presses, indeed any press. Mainstream production flows tend to follow a model that looks something like this:
The larger press usually (but not always) pays for all of these levels of editorial work. Smaller presses don’t have the same economies of scale. Any of the following might happen:
No doubt there are other models, but these four give you a flavour what’s on offer. In your case, you don’t know what the deal is. Which leads us on to ... The press’s expectations Here’s a scenario (A) that would make sense in your author’s situation: The two people who run the press have worked with your author before. They know that he tends to submit files that are in good shape.
The point is that they expect to have a decent manuscript submitted. Anything else would change the terms; his publishing contract is based on an understanding that most of the work has been done prior to submission. Here’s another scenario (B) that I think is less likely but still possible, and it’s the one you’re worried about.
However, because you don’t know what the agreement is between the author and the publisher, you can’t know for sure whether it’s a good or a poor decision for him to hire you. My proposed ethical solution To give yourself peace of mind, I’d advise the following:
If he walks, you’ve still got the introduction with the publisher, you’ve upheld the terms of your professional code of conduct, and you’ve demonstrated to him that you’re trustworthy. If at some stage he decides to self-publish, or if one of his writer friends needs an editor, guess who’ll get the call? Honestly, even if you are facing scenario B, I don’t think he’ll walk because you’re a winner in his eyes – recall my comment above about offering a professional service for an amateur price! A quick word on that … Your token fee – precedent versus leverage I want to talk about this because some readers’ hackles will rise in response to your offer of a ‘token payment’. My view is that your decision is fine as long as your eyes are open, and your author’s are too.
You want to be able to leverage this lower-paid work at every opportunity so that the value you extract from it lies well beyond a number on an accounting spreadsheet or lump sum in your bank account. Publishers and indie authors value training, of course, but experience should never be underestimated. Getting that first break is one of the biggest challenges a new entrant to the editorial field faces. This could well be yours. I have no problem with a bargain being offered as long as the following apply:
If you use this book (and the series, should you get it) as a foundation for acquiring more and better-paying clients, you can view the exercise as a strategic marketing activity that will serve you well into the future. I wish you the very best of luck!
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
2 Comments
Online writing courses
Just a quickie ... a member of Louise's Writing Library asked me if I'd put together a list of online writing courses. It's a work in progress and I'll be adding new resources as I become aware of them. If you think I've missed something, drop me a line at louise@louiseharnbyproofreader.com. You can access the current list via the Self-publishers page on my site, where all the library resources live. Just look for Online Tutoring for Self-Publishers: Writing Courses and click on the image to download the free PDF. Until next time ...
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly. 
What if …? Learning from non-editors
My fellow editors and proofreaders are brilliant at giving me ideas and inspiration for how I can grow my business. Sometimes, though, it can help to step out of one’s known zone and see what people in other industries are doing. That doesn’t mean that everything on offer will be relevant, but delving into other business owners’ worlds can inspire us to spend a valuable half hour asking simply, ‘What if … ?’ So here’s one what-if experience from recent months … something offered by a non-editor that made me take a step back and think about my proofreading and copyediting business from a different angle. First of all, though, I offer an overview of my most-often used approach. Measuring value in terms of time At the base level, I approach pricing in terms of what my time’s worth to me. The questions I ask are:
Don’t get me wrong – I’m not at all unhappy with that approach. It provides me with an effective hourly rate that meets my needs and desires, and it allows for flexibility. Not all my hours are of equal value.
What if, though, one approaches pricing from a different angle? What if we set a fee based not just on the value of our time but also on the risk the client attaches to not hiring us? I’m not saying that this is a better way, just that it’s useful to at least think about it, perhaps in relation to some of the clients we work with. 
What if …? Measuring value in terms of risk
In ‘Part Three/Money Talk: Pricing Design’,* Chris Do, founder of Blind, a brand strategy design consultancy in Santa Monica, discusses pricing the client (or more specifically, their perceived risk) rather than the job. He asks a group of logo designers, ‘What does it touch?’ The video is 30 minutes long but it’s well worth watching. The nub of it is this: a bad logo on one niche website, 10 booklets and 50 promo flyers is a different problem to a bad logo on 40 aeroplanes, 20 helicopters, 14,000 vending machines and a million mailshots. The cost of rectifying the problem is different in those two scenarios, and so the cost of ameliorating the risk of it happening in the first place is different. So the questions editors might ask themselves are:
Those editors with relatively homogeneous client types are less likely to find this approach useful; generalists, however, might well consider testing it. These days, I specialize in proofreading and copyediting for independent and self-publishing authors. That’s a homogeneous client base in terms of client-perceived risk so my rates are based on time to do the job. But if I were working with a lot of corporates, Chris Do’s approach would be food for thought. How about you? Do you have what-if lessons from non-editors that made you step back and ask whether there are other approaches to thinking about your editorial business practice? I’d love to hear about them! *Thanks to my pal Averill Buchanan for alerting me to this link and thinking I’d find it interesting. She was right!
Louise Harnby is a professional proofreader and copyeditor. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Abigail is based in the UK and has been proofreading and editing for around five years. Most of her work thus far has come via existing contacts, personal referrals, and a third-party site.
Until recently, that was sufficient. Consequently, she hasn’t spent any time thinking about a website, marketing, or other forms of outreach. Furthermore, the third-party site has changed the service-fee structure so that the work is no longer as lucrative.
She asks: ‘At the moment, I do a lot of academic work, which I love and would like to continue; I just want to secure it privately rather than through third-party sites. In addition, I would like to move away from website copy, blog posts and more generalised proofreading, and start working with publishers on longer and more interesting projects. However, I don’t know where to start, what’s required, or how to approach them. Many thanks for any guidance you can provide!’ Thanks for your question, Abigail! So, something else you mentioned in your email to me is that you’re undergoing professional training. I was really pleased to hear this because I think it’s an essential element in the mainstream publishing market. So, I’m going to focus on the following:
Why targeting publishers is such a good step Publishers are still the preferred client group for many editorial freelancers. There are several reasons for this:
A quick note on earnings and work stream There’s a lot of talk in the online international editorial community about publishers and low fees. The situation is not straightforward. There is no universal fee for copyediting or proofreading. I rarely work for publishers these days, but when I did I was offered proofreading fees from academic presses that worked out as low as £10 per hour and as high as £40 per hour. It depends on the complexity of the project, the press, the brief, the length, the number of authors, and a ton of other things. After you’ve done a few projects for a publisher, you’ll start to get a sense of how things work and what you can expect to earn on average. Some publishers will offer you a fee of £X per hour, and a guideline for the number of hours they expect the project to be completed in. Some will offer a flat fee for the job. Some of my colleagues (like Liz Jones: see her excellent post in Further reading, below) have successfully negotiated fees when they encountered scope creep. With some presses, I found that I could counter what seemed initially to be a less favourable fee by being as efficient as possible. You’ll also speed up as you become more familiar with a press – their house style, the format of their books, and their preferred professional style manuals and reference systems. Regardless of their fee structure, they do all the project-acquisition work for you, which means you can sit back and focus on the proofreading and editing rather than worrying that your Google Search rankings aren’t as high as you’d like! Here are three supplementary booklets: Proofreading for Publishers: Do They Always Pay ‘Low’ Fees?, Editorial Efficiency: Rates, Data Tracking and Digital Tools, and Untangling Proofreading.
Training for academic publishers – what you need to know
In order to ensure you’re fit for purpose with publishers, ask them which style guides and reference systems they prefer, and take time to familiarize yourself with these manuals. Most presses will provide you with a summary of their preferences. Your training course should draw attention to the importance of following a brief. Publishers are usually rigid when it comes to scope, and going beyond the brief without querying first could have detrimental consequences. For example, if you’re training to proofread, you’ll need to practise when to change, when to query and when to leave well enough alone – no in-house editor will thank you for recasting sentences to improve the flow in a proofread. That’s because: it’s expensive to make extensive changes on page proofs; the pagination could be affected; cross-references might be impacted; and the index could be damaged if it’s being created simultaneously. Also check that the training course you’re doing is recognized by the UK publishing industry. You won’t go wrong with the following organizations, though they’re by no means the only ones to consider: Certainly, if you want to proofread for publishers, you’ll need to be familiar with the industry-recognized proof-correction markup language (BS 5261C: 2005). Even if a publisher asks you to proofread on PDF, you might be required (or find it efficient) to use digital versions of these marks. Where academic publishers search Some publishers do search for editors and proofreaders. The SfEP’s Directory of Editorial Services is one port of call. Some also attend the SfEP’s annual conference and the London Book Fair, so those two events are worthy networking opportunities to put yourself on the radar of academic presses. Recently, I was contacted by a publisher via Reedsy. It’s the first time I’ve received a request to quote from a press via this platform, and it was for a fiction title, so I’m not convinced that this would necessarily be a primary channel for you if you want to acquire academic work, but I’m mentioning it just as food for thought. Why going direct is still your best bet My top tip for getting in front of publishers is to contact them direct, by email, phone or letter. The reason why many don’t search online for editorial freelancers is simply because they don’t need to. Build a list of UK academic publishers, then find out the name of the person in charge of hiring – it’s probably someone in the production department – and get in touch with them. You already have lots of experience, and you’ll have a top-notch training course under your belt. I recommend customizing your CV and cover letter/email for each press so that your portfolio of projects sells you as a perfect fit. Read Philip Stirups’ article for more top tips (see Further reading). Don’t put all your eggs in one basket I recommend you build a bank of around ten publishers. If you stick to one or two you could end up in deep water further down the road. If one of those clients were to merge with another, you might fall off the freelance list during the transition. If your other client were to go bust, you’d be scuppered. Having a larger bank of publishers means you have a safety net. It’s likely your publisher client base will grow exponentially; each time you acquire a new client you’ll be more likely to impress another. It’s a small world, and many of the in-house staff know each other. That will work in your favour. Taking academic publishers’ tests Some publishers will ask you to take a test. There are two articles in the Further reading section that offer excellent overviews of how to approach these: ‘The Business of Editing: Editing Tests’ by Rich Adin, and ‘Test Taking Tips For Editors’ by Cassie Armstrong. Asking for testimonials and building a portfolio Are you able to ask current academic clients for testimonials? If so, do so – however embarrassing you find it! This kind of social proof won’t on its own get you work, but it’s one way of demonstrating that you’re capable of fulfilling a client’s brief. I mentioned your portfolio above. If you’ve been in business for five years, chances are you have an amazing project portfolio. Make sure your CV, LinkedIn profile and website reflect your body of completed works. Publishers love to see experience! I hope that brings you a little clarity, Abigail. Good luck with building your new client base! Further reading
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly. Q&A with Louise: Can a teacher get work as a proofreader, even with no publishing experience?22/6/2017 
Amanda is a UK-based primary-school teacher.
She says: ‘I have zero experience in publishing. However, I have a first-class degree in Education Studies and enjoy reading and grammar. I've been reading your blog recently and have thought of qualifying as a proofreader but appreciate how competitive it is. What is the likelihood of me obtaining work based on my background?’ Many thanks for your question, Amanda! So, the short answer is, there’s a strong likelihood if you get your marketing head on. Because, essentially, this is a marketing issue. Here’s my current favourite mantra: We have two jobs: the work we do, and the work we do to get the work we do. In your email to me you talked in terms of ‘qualifying’ so you’re clearly prepared to embark on professional training – a wise decision. It tells me you’re prepared to make yourself fit for practice – the work we do. Now let’s look at what you could do to get that work. 1st-stage marketing (pre-qualification)
These are the basics, but they’re enough to give you a solid set of standard online profiles that represent you and your proofreading business, and that will enable you to connect with like-minded professionals – old hands and new. In reality, your potential client base is rather wide, but I believe that in the start-up phase, when you’re building a proofreading business, it makes sense to target publishers. That’s because:
2nd-stage marketing (post-qualification) So why would a publisher be interested in you, Amanda? Here are some reasons:
And who are those education publishers? Google is your friend here, but here’s a short list of publishers in the UK who have education lists or imprints. In your position, I’d start by getting in touch with every single publisher you can find in the UK who publishes education content.
My bet is that most (many, certainly) academic or scholarly publishers in the UK will have books, journals and electronic products in the field of education at some level. Find out who’s in charge of hiring editorial freelancers. Email or post a cover letter and CV. Be sure to emphasize your training, background, society membership and subject specialisms. In the early stages, education will be your core specialism but, honestly, if you can proofread an educational research book, you can proofread a politics book or a social theory book, so you might decide to expand your list of interests to education, social sciences and humanities. Or you might talk in terms of education teaching, theory, practice, governance, and research, and other key related terms. It’s something to think about. When you start looking at what else all those publishers with education books are putting out to market, you’ll get a sense of how you might customize each contact letter/email so that you really engage with each press’s list. 3rd-stage marketing As you build up your publisher list, your portfolio of completed works, and your testimonials from all those satisfied in-house production editors, you can really start to make your online presence stand out. Perhaps you now meet the criteria to advertise in the SfEP’s online Directory of Editorial Services. This is one way of making yourself visible to clients outside the publishing industry – I’m thinking here of master’s and PhD students preparing dissertations and theses in the field of education and beyond; academics (particularly those whose first language isn’t English) preparing articles for journal submission); independent non-fiction authors, and so on. For a broader look at different marketing approaches, check out the Marketing archive here on the Parlour, or my book Marketing Your Editing & Proofreading Business. If accessing a market outside the mainstream publishing industry is something you’re serious about, start your content marketing as soon as possible. I have a wee primer that will give you the basics. If you want to get serious, visit the Andrew and Pete website. I bang on about these two all the time, but they know their stuff. I wish I’d known them 10 years ago. Unfortunately for me, they’re a fair bit younger so were probably doing their GCSEs when I started my editorial business! But I’m using them now to help me get the very best I can from my marketing. Summing up So, yes, I think you can obtain work if you are practice-fit and ready to plant a big marketing hat on your head and really commit to it! The fact is, it’s noisy out here, and getting noisier. But the market is bigger too – global, in fact – so there’s more competition, but more opportunities too. Another mantra – be interesting and be discoverable.
Get your training and your marketing licked and there’s no reason why you can’t create a successful proofreading business. It will take time and hard graft, but it’s perfectly doable for those with the right mindset. Hope that helps! If you have additional questions, just pop them in the comments below.
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
I'm so, so grateful to Ray Greenley for taking the time to write a comprehensive primer on audio-book creation for me! It's absolutely brilliant.
Ray's a professional voice artist (he's the narrator behind, among other audio books, Philip K Dick's The Unreconstructed M and Other Stories) but he's a fab writer as well.
I love listening to audio books, but creating them? That’s quite another matter. And yet I wanted to know more, and I figured some of you would too. And because it’s one of those aspects of self-publishing that’s just too expensive to get wrong, I felt that my writing a guide to the process simply wouldn’t do. I wanted to offer you something that would give you in-depth, honest and usable insights. That way, if you do decide to create an audio book, you can do it right. I hoped a professional narrator could furnish you with those insights, and Ray hasn’t disappointed. The following article is an excerpt from the full 26-page primer. At the bottom of the post there's information on how to access Audio-book production: A primer for indie authors from an audio-book producer. Enjoy! (And thank you, Ray!) 
An introduction from the voice artist, Ray Greenley
Hello, dear author! Congratulations on your latest book! Have you considered having an audio book of your work produced? If not, you should! More and more consumers are buying audio books for a variety of reasons, and audio-book sales are booming compared to digital print sales (see Resources: Kozlowski). As an author, you absolutely want to be a part of that growing market. But audio books are an entirely different beast from print books. Getting into a new market is always intimidating. Where do you even start? I’m here to help. I’m an audio-book narrator who has worked with indie authors to produce audio-book editions of their work. In Audio-book production I give you a high-level look at what you need to know to get your book produced as an audio book. In this post, we're focusing on platforms and prices. There’s work to be done, but it’s probably not as difficult as you might think. Read on! ‘So how can I get my book produced as an audio book?’ It wasn’t all that long ago that virtually all audio-book production was handled by a few big publishers, and getting your book produced was probably a similar feat to getting a big print publisher to publish and distribute your book. That’s all changed. Getting your book produced as an audio book is easier now than it’s ever been. Probably the biggest factor in that change is a site called ACX. That stands for Audiobook Creation Exchange. It’s run by Audible.com (the world’s largest distributor of audio books, and owned by Amazon.com). It’s essentially a meeting place where rights holders (that’s you!) can list their books in order to find producers (like me!) who are interested in producing the book as an audio book. Producers (that’s the term used by ACX; consider it synonymous with narrator for the sake of this discussion) can see the listed book and submit an audio audition for it. The rights holder listens to the auditions and can offer a contract to the producer they think will do the best job. Once the producer accepts the contract, they produce the book and submit it through ACX. The rights holder can then listen to the book, and if they approve it, it gets prepared for release. ACX manages the contract, the payment of royalties, and distribution to the associated platforms (Audible.com, Amazon.com, and iTunes.com).
‘That doesn’t sound so bad, but cut to the chase: How much will all this cost me?’
Cost is, of course, always a factor. With ACX, there are multiple options that allow virtually anyone to have their book made into an audio book. But as with many things in life, you often get what you pay for. First a quick note that there is no fee from ACX for registering on their site or for listing your book. They get their money on the back end once the book goes up for sale, so they just want to encourage as many books to be produced as possible. ACX allows rights holders to offer producers two types of contracts: Pay for Production and Royalty Share. Note that regardless of the type of contract, the rights holder always gets full ownership of the audio produced. A Pay for Production contract means that you’re paying the producer a flat fee for their work. Once you’ve paid the fee, the audio book is published and you’ll receive royalties from sales of the audio book. So what’s a typical fee? Well, first off, the fee is based on the length of the completed audio book. When you offer a contract, you agree to pay a certain amount Per Finished Hour (PFH) of the audio book. So if the audio book ends up being 10 hours long, you’ll pay the agreed-upon amount times 10. What sort of PFH rate can you expect to pay? Well, it depends on the type of talent you’re looking to attract. If you want a top-rate, full-time professional narrator, you can expect to pay around $300 PFH, or even more. ‘Wait, what!? That means for my 10-hour book …’ … you’d pay around $3,000, yes. Sounds like a lot, right? Well, it is a lot, and I touch on why that number is what it is in the full ebook. But for now, let’s get back to the discussion on cost. Because you don’t have to offer that much for a Pay for Production contract. You can offer less, and are likely to get producers willing to record your book for less. Just keep in mind that as you go lower in what you’re offering, so the caliber of producers you attract to your project will change. I’d say that once you get below $200 PFH you’re pushing out of the zone where most quality producers feel like they can get a reasonable return on their time, but that may not always be the case. A quick note: There absolutely can be an aspect of negotiation with regards to the contracts you offer. ACX doesn’t care what the final number is. That’s entirely something to be worked out between you and the producer.
‘I really don’t want to put up that kind of money. Is there another option?’
Yes, there is! It’s the Royalty Share contract that I mentioned above. In this contract, you don’t pay the producer anything up front, but instead split the royalties on sales of the book with that person. ‘Hang on – I can get my book produced as an audio book without having to actually pay anything?’ Yes, that’s pretty much it! Sounds great, right? ‘It sounds too good to be true. What’s the catch?’ The catch is that the top producers are VERY selective about the Royalty Share contracts they’re willing to accept. It takes lot of time and effort to produce an audio book, and producers who are trying to pay their bills and feed their families with money from their work won’t take a second look at your book unless it has a record of strong sales. Even if your book isn’t breaking any sales records, you can still list it and are likely to get some auditions. Just be realistic about the kind of producers who are going to be sending those auditions. They may be low on experience, talent, or both. That’s not to say it’s a hopeless case. We all have to start somewhere. Once upon a time, I was that producer who was low on experience and sending out my first auditions. The author who picked me to narrate my first audio book was an indie author who had just written his first book. While I’ve learned quite a bit since that first book, and there are definitely things I would do differently now, I’m still proud of my work on it and the critical reception has been overall quite positive. But it’ll be entirely up to you to make that determination. Just as ACX allows rights holders to sign up and post their book for free, they also allow anyone to sign up as a producer and send in an audition for free. And I do mean ANYONE. Do NOT assume that just because someone is a Producer on ACX that they actually know what they’re doing. In the full edition of the ebook, I offer guidance on how to assess whether the narrator/producer is doing a good job. For now, thanks for reading! Resources
Contact Ray Greenley Website | Facebook | Twitter
Audio-book production: A primer for indie authors from an audio-book producer
This 26-page primer (available here) includes over 5,000 words of guidance from Ray, a professional voice artist, on the following:
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly.
Georgia got in touch with a training query. She’s asked to remain anonymous in order to not jeopardize her existing client relationships. I’ve therefore changed her name and removed all the details from her email that might enable colleagues or clients to identify her.
She’s based outside the UK. She has only two clients, both of which I believe are exploiting her. One pays months late on a regular basis, though it expects its freelancers to meet its tight deadlines; the other (more recent) expects her to wear far too many editorial hats given what she’s being paid for each project.
Although Georgia has several years’ copyediting experience, she has no formal training and feels that scope creep has exposed gaps in her professional knowledge. These are proving to be a challenge in her current roles. Georgia’s budget is limited (not a surprise given that she’s not being paid in a timely manner). She asks: ‘Could you suggest further steps for me? Are there any reputable online training courses you would recommend that would advance my skills and that would not be too expensive?’ So, what should she do? Training and beyond So, Georgia, first of all, I’m really impressed that you’ve focused on upskilling rather than complaining. Few editors and proofreaders know everything about everything; there’s always more to learn! Of particular interest to me, though, was the fact that you framed your query purely in terms of skills gaps and training solutions. Actually, I think there’s a bigger issue at stake: your limited choice. Your current clients expect you to be able to carry out more levels of editing than you feel capable of. And yet there are plenty of clients in the world who would benefit from – and be glad to hire you for – your existing capabilities. However, they can’t find you. With that in mind, I’m going to break down my answer into several parts:
And if that sounds like I’m looking for an excuse to bang my marketing drum yet again, I won’t apologize! The fact is that the work we do and the work we do to get the work we do are connected. Having appropriate skills is of course the foundation of good practice, but it’s next to useless if we’re still rendered vulnerable to clients who expect the earth, and believe they can ask us for it, because we have nowhere else to turn. But let’s deal with the training issue first, since that’s what you asked me to address ... Online training So the bottom line is that, as far as I’m aware, there are no ‘cheap’ distance-learning courses that will provide you with the baseline skills that mainstream publishing houses and university presses will expect from a copyeditor or proofreader. You get what you pay for when it comes to professional training. Of course, what’s cheap to you might seem pricey to me, or vice versa. Given that the pound is rather weak as I write in June 2017, perhaps some of the UK online training courses I’m about to recommend might be well within your budget today even if they wouldn’t have been three years ago! The two institutions I’ve worked with, and so can vouch for with confidence, are as follows: Bear in mind that if you decide to do proofreading training, the proof-correction markup language taught (BS 5261C: 2005) on UK distance-learning courses will differ a little from that used where you live, so there’ll be some tweaking to do when you apply the training to your practice. Below, in the comments, my colleague Corina Koch MacLeod kindly posted some additional links to online courses (see Professional Studies at Queen's University, Canada). They're open to anyone, anywhere.
Books Online proofreading and copyediting courses are superb options because of the flexibility they offer and, in some cases, the available feedback from a tutor (that's one of the reasons why they're not the lowest-cost option). Given that you’re on a budget, though, you might want to consider books, too. Here are seven to think about:
These books most definitely aren't up-to-date in terms of technology (the on-what issue), but the best-practice elements are still spot on.
The fourth edition of Butcher's is also pricey. Second-hand versions of the third edition are going for a song on Amazon, though. If you find that some of these books are out of print, ask in editorial forums if anyone has copies they’d be happy to pass on. Mentoring: formal and informal Another option is to seek either formal or informal mentoring. I don’t think you should feel embarrassed about explaining to colleagues in editorial forums that you’re looking to raise your skills to meet publishing-industry standards, and asking whether anyone would be prepared to mentor you. I'm impressed when even the most experienced editor or proofreader asks about CPD. Some may expect a fee, others will do it for free, though there might well be a wait list. Moving beyond mainstream publishers Mainstream publishers, as you know, tend to have rather rigid definitions of what a copyediting or proofreading job entails. Editorial freelancers who specialize in working for these clients do have a smoother ride if they’ve formally trained because that training accords with industry expectations. Things take a different (though not always easier!) turn when working with independent authors, students, businesses, and so on. I would not be at all surprised if the experience you’ve already acquired with your two mainstream clients means that you're more than capable of working with many non-publishers effectively. So let’s say you offer copyediting. While a publisher might expect you to edit the index or the bibliography as standard, you could decide to exclude these from your service for non-publishers. And perhaps you won’t be surprised to hear that many non-publisher clients come to me, and thousands of my colleagues, looking for so-called proofreading services. What they’re actually asking for frequently falls under the rubric of what we'd call copyediting (correcting the raw-text files) rather than annotating final page proofs. You're in a position to support this market given that you’ve already demonstrated your capabilities with several years of successful practice. See the following for more on the tangled world of non-publisher proofreading and copyediting:
A key issue for you to consider is therefore how you are going to make yourself discoverable to those types of clients. Make sure your website, social media profiles and directory entries are bang up to date and presenting you as a compelling prospect for potential clients. If you’re not advertising in the key industry directories, then that’s something you can fix immediately (whereas making your website visible is a more complex and slower-burn solution). Think internationally. If you can access key industry directories, do so. You’re not a member of the SfEP, so you wouldn’t qualify for entry in its Directory of Editorial Services, but you might be eligible for other national societies listings (see this list of national editorial societies). Then there’s findaproofreader.com, which is very reasonable. Consider other online business directories in your region, too. If their advertising rates are affordable, test them for a fixed period so you can evaluate whether they’re working for you. One channel is rarely enough for any of us. Make yourself visible on multiple platforms so you can see what drives clients your way most effectively. To make your editorial more visible to clients searching online, I’d recommended a content-marketing strategy. This requires consistency, creativity and commitment, but it is an effective strategy if you're prepared to work hard at it. I won’t use this Q&A session to delve into the issue because there’s far too much to say. If you want a taster, read my Content Marketing Primer for Editors and Proofreaders. (I also have a more general book on marketing an editorial business that might be of interest: Marketing Your Editing & Proofreading Business.) But, first, head over to the Andrew and Pete blog (they’re my content-marketing coaches, and my top recommendation for anyone wanting to dig deep and do it properly) and watch this short video: WHAT IS CONTENT MARKETING? (IN 15 GIFS). Honestly, no one makes the task as fun as these two do! 
Summing up
So, Georgia, there you have it – 2 online proofreading and copyediting training options, 7 paperback alternatives, 1 brief mention of mentoring, and my thoughts on promoting yourself into a position whereby you get to define the scope of your services rather than being forced into wearing hats that aren’t made to measure! Good luck with the next steps! Louise
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.
Chris Hamilton-Emery of The Cover Factor and Salt discusses what makes a great book cover ...
This post featured in Joel Friedlander's Carnival of the Indies #82
Managing the process of book cover design
So you’ve written, edited and prepared your book’s interior for your preferred distribution channels. Now you need the cover. And, as I know all too well, being able to write in no way qualifies one for being able to design. When we’re self-publishing, there are some parts of the process that are, for most of us, best bought in. When it comes to book jackets and digital covers, that means talking to a designer. Whether you decide to do it yourself or hire a designer will depend on your budget. Either way there are some design basics that are well worth bearing in mind to help you make your book wow itself. Great words compel your readers to finish your book ... A great cover compels them to start it. Chris Hamilton-Emery, design director of The Cover Factory and co-founder of the gorgeous independent publisher Salt (based here in mostly sunny Norfolk!) has been kind enough to share his expertise (and his fantastic sense of humour!). The advice below will help both the self-publisher and those looking for publishing contracts. Chris's core mantra? Avoid being dull. 
Design by committee
For authors with a publishing contract, it’s not uncommon for a team to be involved in briefing a designer – they may not be acting as a team, but there’s often one involved. ... A sales manager who has her eye on that cover that’s on display in Book Bonanza’s shop window. ... The marketing manager who keeps up with the new trends and the language around covers: ‘It needs some spacy calmness for the furniture to show up the title text.’ ... Perhaps the bookseller: ‘Put a snake on it in a herby sort of border.’ ... The managing director: “We don’t do serifs or colour at Gubbins & Potsdamer.” ... And then there’s the production manager, the print buyer, the design manager. Everyone has something to add to the sauce, not least an expectation of stellar sales. Then someone rings the author. “He says blue reminds him of his dead mother, and the goat is the wrong breed.” Which all goes to say that cover design has its contexts. The person that truly matters is, of course, the reader – yet a cover has many important audiences before we reach that goal. That’s because it’s the chief means by which people make their investments in the book in the supply chain long before the bound paper book block (or its digital sister) touches the shelves. A cover signals commitment from the publisher (even if that publisher is you, the author); it signals desire among booksellers; it signals prospects among the supply chain, and its critics and reviewers. Many will be spending their money before anyone has read a word. For those with publishing contracts, it’s entirely possible that the author will have no contractual say in the matter, though few publishers would be brave enough to go to press with a cover that an author despised. 
To boldly go?
Many covers are compromises and copies, and covers, like many parts of our modern lives, are influenced by fashion. A cover that breaks ranks and stands out has as much chance of failure as success and so many covers play it safe. Being bold can also mean being ignored. As one friend put it, ‘The cutting edge is also the bleeding edge.’ Some markets have their own design universes, like crime, or romance – and it will take a brave soul to depart from the conventions of the genre. Yet we all aspire to good cover design, and we all recognize that in the fiercely competitive environment of today’s global book trade, a cover can really help make a book work, by which we mean, distinguish itself. Whomever compiles the brief has no easy task; they will be serving the multiple masters listed above and trying to find a way forward to inspire a designer to deliver a pot of gold in the shape of a small rectangle. The brief Do provide a synopsis, but not necessarily the entire book List three powerful visual moments. List one or two key visual themes. If the book had a palette, of which colours would it be comprised? How would you like readers to react to it? Do not ask for your entire book to be illustrated on the cover ‘There must be a gold sky with twenty-six ravens, and a golf house, a small bus, traffic cones and a trifle, but no jelly. And on the trestle tables, bunting. And a seal. There are two main characters, one tall, the other taller, each has a mole. They are wearing jacquard ties. They must be shown in front of the thirty-seven villagers, all attempting to get into a train. The train is going to Doncaster.’ Hmm. Detail is the great enemy of good design. Yet so, too, is needless abstraction. ‘Can it be wavy green with splashy washy bits? Except blue.’ Inspiring a great design can frequently be found in seeking out the monolithic and iconic message a successful cover often presents, ‘If she had eyes, they would be stones.’ Leave plenty of room for the designer to imagine, to take risks, and above all to surprise you with their own art. Never ask a designer to work up your own ideas. If you have ideas, especially strong ones, express them as visual journeys. Don’t offer destinations. Ask questions Perhaps the best way to ask questions is to show things that you believe work for you – other covers that appeal, especially ones relevant to the text. Create a visual space for the designer to work in, and add your brief to provide context and challenges. Good questions expose the problem, good questions get to the central, even the reductive, theme of the book. ‘If there was ever a home like this, it would be a songless house on a wet hill with a red rat at its heart.’ So, again, ask for three visuals, perhaps some early sketches, to see where things are leading. Or be bold and say, I am prepared to be surprised. 
Consider the compulsion factor
It’s also important to know the mechanics of a cover – once it’s passed through its committees and is en route to the bookstore, its role really comes into its own. Among the tens of thousands of books being put in front of readers, in stores or online, the cover’s job is simply to attract the browser, that momentous millisecond of compulsion that makes someone pick the book up, read the blurb and break open the spine. Or scroll down a page and click Look Inside. Think of it. You spot something, your eye stops its movement, you lean forward and pick up the book, you turn it over and read an endorsement, your eye flickers, you read down. Ah, it’s about the last water mill in a land of drought ... You open the book and a journey begins (one that starts at the till). Think back. The cover merely had to stop you moving on and its work was almost done – such a simple and perplexing thing. Would something more complicated have worked better? Something less fussy? Something less drab? The essentials ... Not everyone can afford a £3,000 cover budget; nor are they willing to have a six-month internal circulation list for everyone to argue over within a publishing house. You may be going it alone; you may be self-publishing. The problems are still the same – your cover must be distinctive, distinguishable, memorable, singular and arresting.
Free fonts can help in devising sketches. Test your ideas out with professionals. Don’t test them out with friends. Look at your cover in the context of your competitors. And give it time. If you’ve spent years writing your book, at least give a few months to considering the cover. Be aware of your own prejudices. Be aware of your own tastes. Pay attention to space and position, to colour and clarity. And if your book is to be printed, above all, remember the spine, for this is what most readers will see. Don’t mistake a poverty of design as the representation of authenticity. Don’t over elaborate, either. Look at your cover from twelve feet away; can you recognize it, read it? 
Working with the designer ...
Let’s roll back through these notes towards a design. If we’re using a designer, we want to enthuse and inspire, we want to ignite not instruct. We want to understand the context in relation to other covers. We want to be aware of those who will put our book in front of readers. We want the readers to pick it up or click on it. Whether we use a designer or produce something ourselves, we are all chasing something singular, clear and memorable. We are avoiding complexity. We are signifying the book more than illustrating its contents. Above all we are branding it. Remember that brands symbolise and represent complicated relationships and stories by simple means. Simple doesn’t mean dull. In fact, perhaps the best mantra is, don't be dull. The world needs its little moments of glamour.
Chris Hamilton-Emery is Design Director at The Cover Factory:
Web: www.thecoverfactory.co.uk Facebook: www.facebook.com/TheCoverFactory Twitter: @thecoverfactory Flickr: www.flickr.com/photos/thecoverfactory/
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly.
In 'When one client isn’t enough – emergency marketing for editors and proofreaders', I offered an emergency marketing plan for proofreaders and editors who’d either lost their sole source of income or ended up in a situation where they were reliant on one client.
The first stage of the marketing plan asked for a commitment to active marketing.
If you’re simply waiting for a solution to present itself, you’re merely involved. And that’s a very different proposition from being committed. I love this quotation from Martina Navratilova: The difference between involvement and commitment is like ham and eggs. The chicken is involved; the pig is committed.
Editorial freelancers, especially new starters, need to be the ham. Committing to marketing as soon as we set up our businesses ensures that we’ll never be client-reliant or, worse, lose our sole source of income.
Acquiring work: commitment versus involvement Involved: being passive Most experienced editorial freelancers take advantage of passively acquired work. I have a number of repeat clients who fill some of my schedule. If you’re highly visible, experienced, trusted and respected, this strategy could well be effective for you. For the new entrant to the field, though, it’s a non-starter. That’s because these opportunities are a consequence of active marketing. Passively acquired work might come through a variety of channels. Here, for simplicity, I’ve focused on three:
Committed: being active Active marketing is the work you do to generate these passive opportunities. Here, again, I’ve focused on three: A. Networking with colleagues and clients (e.g. on editing forums, at conferences, professional society meetings, social media platforms). This kind of marketing leads to an awareness of what your specialist skills are. If a colleague needs to direct a client or prospect to someone with skills or availability that he or she doesn’t have, you’ll be in the running (see 1, above). B. Cold-calling and writing letters/emails to target clients (e.g. publishers, packagers, businesses, marketing agencies). This is direct marketing and if you do it extensively you can quickly build a solid list of similar client types. If the clients are satisfied with the work, they’ll rehire you, which leads to repeat work (see 2, above). C. Just creating online profiles in itself is not enough to make you discoverable. Action that maximizes the visibility of those profiles in the search engines is key. This is where content marketing comes to the fore – creating and distributing (via your online platforms) advice, knowledge, tools and resources that your colleagues and clients will find useful, valuable. Examples include blogs, booklets, video tutorials, checklists and cheat sheets. High-quality content offers solutions to problems and makes your online profiles more findable (see 3, above). In a nutshell, being active enables you to reap passive rewards later (if your office buddy will give you the space, that is). 
Charlie, my Labrador, enjoying the passive approach to life.
Why word of mouth (WOM) is often misunderstood
‘But my colleague said that all her work is via word of mouth.’ I don’t doubt it. But if she’s been running her business for 20 years and has a portfolio and client list as long as your arm, she’s not in the same position as the new entrant to the field. She’s benefiting from 1, 2 and 3 because she invested in A, B and C. New starters should indeed commit to WOM marketing. What they shouldn’t do is assume that it’s a passive approach that requires no effort. Nor will there be short-term results. Top-notch WOM marketing requires an intense level of commitment to action and an acceptance of slow-burn impact. Awareness and trust aren’t built overnight, especially in our field. Editorial freelancers aren’t selling a product that promises something that swathes of people have wanted forever – an anti-aging cream, a painless leg-waxing treatment, a broadband connection that never, ever buffers even if you live out in the sticks and there’s more chance of getting a wi-fi signal on Mars. Our services have to prove their worth. For the editorial business owner, WOM marketing is like creating a garden from scratch. If you’re proactive, it will take many months to knock it into shape. If you hold back, it’ll take years. If you’re passive, the garden will remain barren. WOM and colleagues There are a lot of us, and many have already developed niche networks of friends and colleagues to whom we refer work. When an editor or proofreader ends up on my radar, it’s because they’ve instilled trust in me.
WOM and clients As for client A telling client B about you, you’ll need a lot of mouths to share the good news if you want to have a full schedule! That’s not where you’ll be if you’re a new entrant to the field, not because you’re not an effective editor or proofreader but because you don’t yet have a large enough bank of clients. Effective WOM Find out which networks (online and offline) your clients and colleagues recommend and join in the discussion. There’s nothing wrong with asking questions but be prepared to offer solutions too. Even new editorial freelancers have specialist skills and background experience that are relevant and valuable to the debate. In 'Why word of mouth marketing is the most important social media', Kimberly A. Whitler, Assistant Professor at the University of Virginia's Darden School of Business, breaks down WOM marketing into the three Es:
Action first, passivity later Clients can come via active and passive marketing strategies. It’s not a case of the right strategy but the right order. If you’re a new starter, make active editorial business promotion a standard part of your working life, just like copyediting or proofreading, invoicing and updating your software. Assign space for it every week so that it becomes commonplace rather than a chore or, worse, something to be feared. Be active. Be committed. Be the ham! Once your business is established, you’ll be able to take advantage of the passive benefits that result from your effort. Just take care not to hand over the chill space to your Labrador!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to join Louise’s Writing Library. Members receive monthly updates featuring self-publishing news and resources. In my latest guest article for the BookMachine blog, I take a look at how publishing professionals, from the freelance editor to the mainstream publishing house, can stretch their marketing budgets by repurposing one in-depth piece of amazing content. The fabulous Gordon Graham, otherwise known as That White Paper Guy, was my inspiration, and I'd recommend you take a look at his guidance on ways to create brilliant resources to make your clients' lives easier. Click on the stretchy guy to read the article in full!  Louise Harnby is a professional proofreader and copyeditor. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders. Visit her business website at Louise Harnby | Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Maya has a PhD in social anthropology, and is an experienced editor and proofreader. She’s in the process of expanding her editorial business while continuing to publish academic research.
To date, she’s focused on acquiring work through a freelancing website, but the work flow is unpredictable and she’s not convinced it will supply her with a viable income stream in the long term.
She’s created a website but recognizes that it’ll take time to become visible to potential clients, and to earn their trust. She asks: ‘There are a couple of other freelancing websites that look promising, as well as academic editing agencies. Does it make sense to try to sign up to those as well, or is it better to focus on one thing at a time? I'm planning to blog and make YouTube videos about academic writing on top of these things. But is this a case of "less is more" or "more is more"? I’m an experienced editor but completely new to marketing!’ Great questions, Maya. Two things to consider There are two different elements to your strategy here:
Both approaches are important in the editorial industry, so hats off to you for recognizing that even though you’re new to marketing. You’re doing brilliantly! The reason why both approaches are important is because directories and agencies have already done the online visibility work on your behalf. By using them to make your business visible now, you’re freeing up your marketing hours to focus on the longer-burn stuff – your blog and videos. Broadly speaking,
I’ll explain why further down, but first I wanted to ask you whether you’ve considered approaching publishers too. You didn’t mention it in your email so I think it’s worth my taking the time to discuss it here. Publishers and freelance editors – a gift Directories, agencies and content creation are all great ways to acquire clients, albeit over different time frames. The biggest problem the editor faces, however, is getting the client to raise their hand in the first place. ‘I’m interested in you, Maya!’ is what your directory entry, agency listing, blog article or YouTube video needs to make your audience member feel compelled to say. That means working hard to create stand-out information that sets you apart from the competition surrounding you. Furthermore, in the directory and agency fields, there will always be a group of clients looking for cheap rather than brilliant. And in the marketplace more generally, there are potential clients who don’t even realize they need you, or, if they do, which of the different levels of service will be the most appropriate. But here come the publishers! (Sing it, like the Boots ad!) We’re in a rather privileged field of having a core client group who understands exactly what we do, why we’re necessary, and the value we bring to the table. We don’t have to get them to raise their hands; their hands are already in the air! Some publishers will take the time to scour the SfEP’s Directory of Editorial Services, but to my knowledge the single best way to get noticed by a production manager is still to go direct. Email, letter, phone call – whatever you prefer. I worked almost exclusively for publishers for the first half of my freelance career. I had about 10 publisher clients who kept my schedule as full as I needed it to be. Feast and famine? Nope, just feast. Like you, I have a background in the social sciences, so that’s where I focused my initial wave of inquiries. You mentioned in your original email that you’d 'bought my marketing books', so you’ll find more information on how to tackle that in Marketing Your Editing & Proofreading Business. Take a look, too, at the SOS Marketing Strategy PDF below. You’re not in an emergency situation but the basic principles about how to proceed still stand. Publishers, like agencies, will give you regular work, and that means you can focus all your marketing juice on creating compelling blog posts and irresistible YouTube vids. Publishers are a bit of a gift like that – while their rates aren’t always top-notch, the time they free up for you by handing you a steady supply of work certainly is. And creating valuable, usable, accessible content does take time. Directories and agencies: more is more Perhaps that’s a bit of an exaggeration! By more is more, I’m not saying you should sign up with 20 directories and agencies; you’ll spend more time being busy creating the entries than you will being productive finding the work! I do think, though, that you needn’t limit oneself to one. If you identify a group of, say, four or five that are used by your core clients to find people like you, I’d recommend you sign up. More is more, as long as you’re selective. There are SEO benefits, too. For certain medium-tail keyword searches, I rank first on page one of Google – but it’s not my website showing up. It’s my SfEP directory entry. And, anyway, you’re in control. You get to accept work, or decline it – whatever suits your needs. The key thing to remember is that if you get too many requests to quote from the directories and agencies, you can always trim and focus on those that deliver the best-quality clients to you. Plus, you’ll never know what’s working if you don’t test in the first place. Testing is something else you’ll see me bang on about in my books, but only because it’s the foundation of any solid marketing strategy. It doesn’t matter if you try something, and that something doesn’t work. You’ll still have learned something, and having learned it you can make an informed decision about what to do next. Otherwise your marketing is just guesswork – which is exhausting at best! So, yes, go ahead. Sign up for a few more and find out what works for you. Evaluate in a few months’ time. Then leave behind the ones that don’t work out and try something else instead. Now let’s deal with the content strategy. Creating delectable content! Less is more (sort of) When I say less is more, I’m talking about platforms, not the actual content itself. This isn’t just me banging my drum. The professionals emphasize this. My own content marketing coaches Andrew and Pete recommend focusing on one or two platforms, and really honing them. Plus, I’m halfway through the online conference Summit on Content Marketing, and speakers Rand Fishkin, Ilise Benun, Dave Jackson, and Stoney deGeyter agree: concentrate on what your core clients are using – in other words, choose the platforms your customers prefer, rather than the ones you prefer. So, you’re planning to use a blog and YouTube to deliver your advice on academic writing. If those are platforms that your core clients like using, then go ahead. And stick to those two – really craft them into something special, something compelling. Some quick tips (you might know the following already but other readers might not, so bear with me!) … Quality Make sure your content is really useful so that it offers solutions for your potential clients. Don’t sell – just solve. I used to call content marketing ‘value-added marketing’ (see the marketing book you’ve bought). Seriously, I didn’t know ‘content’ marketing was a thing until a year ago! I still think it’s an oddly bland name for such an exciting strategy. Anyway, I don’t get to make the rules, so content marketing it is! Focus on value above all else. Value trumps everything (unless your great writing is so blurred as to be unreadable, or the audio quality of your video so poor as to make it unwatchable). If you create a beautiful video, or a blog post with loads of fancy pictures, but the story you’re telling your viewers or readers is of no use to them and doesn’t help them, you won’t grow that audience. But if your video is a little flawed, or your blog post a little ugly, you’ll still grow your audience and build trust and relationships if you’ve made someone’s life easier. It’s no different to friendship. I don’t pick my mates because they look gorgeous – it’s all about the relationship and how we make each other feel. Content marketing’s no different. I’ve tried hard to make my blog look prettier this year. But you know what? Some of my most popular posts are still those I wrote years ago – posts with really long paragraphs of dense narrative – 1,500 words of me telling people what publishers think about proofreading training courses, and another 1,500 of me on how to upload custom stamps of PDF markup symbols. No pictures. No clever SEO titles. Just loads of text. But it’s text that answers the questions that (some) people are asking. Consistency Be consistent with how often you deliver your blogs and videos. The expert view is this: whether you post twice a week, once a week or once a month is less important than choosing one of those and committing to it. That way your readers and viewers get into the routine of engaging with you. Furthermore, if you commit to once a week, but you don’t have enough content to fill that schedule, you’re more likely to feel deflated and stop. Which would be a huge shame! It's better to excite an audience by raising your game than disappointing them by going backwards. Quantity If you write great blogs that are 400 words long, perfect. If you need 2,000 words, perfect. If your videos need to be 5 minutes long to solve your client’s problems, make them 5 minutes long. If they need to be longer, and that’s what your audience wants, make them longer. Just make sure that every word and every minute is full of value. I know I’m a right old rambler so I struggle to make every word count. Let’s just call me chatty! Delivery Think about how you’ll direct people to your blog and YT channel. I post to Facebook and Twitter, LinkedIn and Google+ to make editors and writers aware of what’s new on my blog. I’ve also recently created a mailing list for writers to enable me to alert them when new self-publishing resources are available. And, these days, Google Search is working wonders for me. In time, it’ll work for you to if you commit to creating all that delicious stuff for your potential clients! If academic writers are also using Twitter, FB and LI to get their updates, those are the channels you should use to direct them to your blog and video platforms. If they’re using some other channel to get their news, that’s where you should be. Again, it’s about what your listeners and readers want, rather than your own preferences. (I really, really hope authors aren’t big Snapchatters! If they are, I might just have to break my own rule and say, ‘Stuff what my clients are doing!’) If one of the books you told me you’d bought was my content marketing primer, you’ll get a good overview of the basic principles. You can always post another question if you want to dig deeper. Hope that’s helped, Maya. Thanks so much for asking two great questions. I hope my response has told you what you wanted to know. Cheers! Louise P.S. Click on the image below to access the PDF. 
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.
One of the Parlour’s UK readers contacted me with some questions. I’m answering them here because they’re the kinds of things that are often asked by those who are thinking of entering the field of editorial freelancing
Out of respect for my reader's privacy, I’ve masked his identity. Let’s call him Charlie (after my Labrador!).
So what did Charlie want to know?
Phew! That’s a lot of questions, Charlie, so I’ll only be able to scratch the surface, but I’m confident I can point you in the right direction. First things – going deeper Here are four resources that dig deeper into all your queries , though you’ll have to cough up a few quid for them!
They’ll tell you pretty much everything you need to know about starting out and keeping going. Might I also suggest you join the Society for Editors and Proofreaders (SfEP), the UK’s national editorial society? The forums provide a warm and supportive environment for old hands and newbies alike. How will clients pay me? A better question might be how would you like to be paid? For example, I accept cheques (reluctantly!), PayPal (convenient for international clients), and direct bank transfer (easy-peasy). Other options include Stripe and CurrencyFair. I send an invoice as soon as a project’s complete, but some of my colleagues prefer to do all their invoicing for the month in one fell swoop. It’s a matter of personal choice and what works for each business owner in terms of efficiency. You can download an invoice template from my Other Resources page. How do I register with HMRC and what do I need to tell them? Quite honestly, the easiest way to deal with HMRC is to give them a call. I found them incredibly helpful when I first started my editorial business. Believe me, they’ll put your mind at rest. Sue’s book (mentioned above) has lots of information about dealing with HMRC. My primary piece of advice is to keep a record of what you spend and what you earn in relation to your business. There’s an accounting template on the Other Resources page that shows you what I record for each project. How do I keep track of the hours I spend working? I record my hours in the accounting template. That way, everything’s in one place. I keep track of time the old-fashioned way – with a pen and a piece of paper! Other colleagues use various time-tracking tools and widgets, e.g. Toggl. Keeping track of how much time you spend on a project is important for gauging how efficient you are. Bear in mind, though, that not all clients will be prepared to pay you for the hours you work. Rather, they’ll pay you for the hours they think the job should take you. This is often the case with publishers and packagers. When you’re in control of the setting the price of a project (e.g. with independent writers, students, businesses etc.), you’ll need to assess how long the project will take and how much you want to earn from it. This comes with experience; it’s likely you won’t hit the mark in the start-up phase of your proofreading business. Don’t fret about this, though. You’ll get better at estimating over time. And by tracking how long each project takes to complete, and what you earned, you’ll get a sense of what’s possible in an hour or per 1,000 words. How much should I charge? Take a look at the following articles here on the Proofreader’s Parlour:
What you charge will be determined by your particular needs, your ability to access clients who’ll meet those needs, whom you’re working for, and what you’re doing. If you work for publishers and packagers, they’ll control the price – you’ll be a price-accepter. If you work for businesses, independent authors, academics, and students, you’ll offer a price in the hope that they’ll accept – you’ll be a price-setter. If the second option sounds a better financial option, bear in mind that, even if it is, it’s harder work! Publishers and packagers do all the client-acquisition work on your behalf, while acquiring clients for whom you’re a price setter means you need to actively promote your business on a regular basis so that you’re interesting and discoverable to clients across the platforms they’re using to find people like us (e.g. Google). How do I acquire assignments? My line on this is: when you set up your own business you’ll have two jobs:
I’ve shared all my experience of editorial business promotion in these four resources:
What I’ll say here is that there’s no single way to go about it, not least because different client types use different platforms to find their proofreaders and editors.
For example, content marketing is not the most efficient way to go about acquiring publisher clients – honestly, just get on the phone or write a letter/email instead. If you want to work for independent authors, though, it’s one of the most powerful methods of being discoverable. Conversely, phone calls to publishers will reap results (if you make enough of them), but for indie authors this method will take you into Ghostbusters territory – who you gonna call?! My advice is to put yourself in your customer’s shoes and ask:
Can I use my prior career experience? Absolutely – it will be one of your unique selling points. For example, I’d worked for a social science publisher for many years prior to starting my business, This, along with my politics degree, helped to make me an interesting prospect for social science publishers with politics lists. Wordsmith Janet MacMillan is a former lawyer – now her client base includes legal publishers, legal students, academics and law firms. Both of us understand the language our respective disciplines, and that means we’re more likely to spot errors in related texts than someone with, say, a nursing background. My advice to new starters is: always specialize first in what you know. Later, if you wish, you can diversify, or transition to another specialism (I’m now a fiction copyeditor and proofreader). So, in the start-up phase, use your career experience to help you determine which core clients you’re going to target. Then think about how you'll communicate with them in a way that makes them want to consider you as their proofreader. Here are two resources to help you think about how to create a stand-out brand identity using a client-centric approach:
Do you accept volunteers or offer apprenticeships? I don’t, Charlie – sorry. I’m a one-woman show. That’s critical to my business model. My clients hire me and only me to work on their books. That doesn’t mean that mentoring programs aren’t a superb option. Time to think about training! I’d strongly recommend you do some professional proofreading training to prepare yourself for market. It’ll show you where your strengths are, and help you fix your weaknesses. Training has three core benefits:
The SfEP and The Publishing Training Centre are my recommendations … purely because I have personal experience of their courses on which to base an opinion. There are other options available, though. The SfEP runs a mentoring programme, too, though you must have completed some initial training beforehand. Last things That’s it, Charlie – a whirlwind tour of how to set up a proofreading business! I hope you find the guidance useful. I realize there’s a lot to think about. If you decide to join the club, you’ll find a supportive community awaiting you, one that stretches well beyond the geographical boundaries of the UK. Good luck!
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly. How to make a living from self-publishing fiction This week's post is a cracker. Self-published author Jeff Carson has kindly agreed to discuss his writing journey. 
This post featured in Joel Friedlander's Carnival of the Indies #81
Jeff's a mystery and thriller writer from Colorado. Writing is his full-time job and he makes a living from his self-published series.
That's a dream for millions of independent authors; below, Jeff shares 11 tips on how he turned that dream into a reality. If you're at the start of your self-publishing adventure, this is definitely for you!
My name is Jeff Carson and I’m the author of a series starring David Wolf, a cop living in the fictional town of Rocky Points in the Colorado Rockies. Right now, I’ve written ten books in the series.
When I first started out writing, I remember being tormented at night by questions swimming in my head (and by mosquitos … at the time, we were in Italy for a year, and they were thick that summer, I tell you). Questions like: Can I really do this? Can I make a living at it? Is this just a waste of my time? What if everyone hates the books?
By finding a few people online who’d made a success of becoming a self-published author, I was able to get a lot of my questions answered and some inspiration that propelled me towards making a living as a fiction writer. I despise playing the guru, and I’m cringing a little as I write this, but I have accomplished the goals I laid out five years ago. So I have to say that I feel l’ve succeeded in the self-publishing realm. There are others, many others, who would scoff at my level of accomplishment, but this blog post isn’t for them. This is for those who are in the position I once was, in that sweat-soaked Italian bed. Here are 11 things that have helped me succeed as a self-published author. 1. I want to make a living doing this That’s been the over-arching goal from the beginning. I wanted my paycheck to come from writing. I wanted to make money twenty-four hours per day from people reading my books. I’ve met many people who approach writing as a therapeutic tool for their lives. That’s fine. But 100% of people who write get the therapeutic benefit. One only makes money from it if it’s a goal. You don't wake up with a horse one day by random accident. There’s a lot of intention and action that goes into suddenly having a hay-eating animal roaming around in the back yard. Same thing goes with earning a living from writing. 2. I wrote a book series I learned that if you want to make money from writing fiction, the odds of success go up dramatically by writing a series. Since my goal was to make money with this gig, naturally I wrote a series. Harlan Coben is the exception, not the norm. On this note, I learned the hard way to not leave books ending on a cliff-hanger. I'd done this with book one and received a lot of negative reviews. I’ve since fixed the novel so that all story goals are resolved and it ends completely. In my series, my characters grow and their lives change from each book to the next, but I try to make each book a stand-alone. This helps with marketing, too, since anyone can pick up one of the David Wolf novels at any point in the series and feel grounded and up to speed. 3. I over-estimated, or realistically estimated, the level of work it would take to achieve my goal (of making a living writing) I knew that one book in a series, the first book I’d ever written and published in my entire life, would make no money. Pessimistic? It’s not. First, I was learning how to write a story. Second, I wasn’t expecting to gain a wide audience with a single book taking up a single slot in the vast Amazon universe. I knew book one was the hook – the mouth of a funnel – that would lead to the rest of the books in the series. In fact, I knew I was probably going to offer the first book for free. I needed multiple books in multiple categories grabbing people’s attention, all of them leading readers to the other books sitting in other categories. The series would act as a big net. I figured that after three books I’d be making some ‘extra money’. I hoped that after five I’d be making enough money to quit all other work and concentrate on writing only. Then I doubled that number. Therefore, I created a goal of writing ten books; then I’d judge the venture one way or another. In reality, after five books I was able to write full-time and make a full-time living wage. Now that I’m on book eleven, my goals, expectations, and earnings have elevated. 
At the beginning, I felt that if I set my work expectations too low, I’d become discouraged, and fast. Because if after, say, four books I was still irrelevant and making nothing, then my hopes would be dashed.
Some people would call a ten-book ‘realistic expectation’ pessimistic, but in my mind it’s the reason I kept going when, after three books, I’d known months that wouldn’t have paid for a week’s worth of groceries. 4. I concentrate on what I want every day I’ve filled two college-ruled notebooks with lists of my goals. Every day (or most days) I open up a notebook, list the writing goals/life goals with specific deadlines, such as when I’ll finish the first draft and when I’ll publish, and then I get to work. I learned this technique by reading this Brian Tracy book on goal-setting: Goals! How to Get Everything You Want – Faster Than You Ever Thought Possible. That book definitely changed my life. I'd never even had goals before reading that book. Now I always set goals. Deadlines always get pushed back, which would be depressing if I let myself to think about it. But the system doesn’t allow for that. Each day is a new sheet, and a new list of goals with either the same deadlines or adjusted deadlines. Looking back on previous lists of goals is not permitted. 5. I read the bad reviews This is a biggie. I’ve heard some authors say, ‘I just ignore the bad reviews.’ I adopted that stance for quite a while, actually. But there’s always something to learn from a bad review. In fact, I think it’s dangerous and irresponsible if you ignore the one- and two-star shellacking some people take pride in giving out between hangover-induced trips to the bathroom, the sons of bitches. Some people get specific – ‘Nice try. A Sig Sauer P226 doesn’t have a safety! Amateur writer at best. I will not be reading another piece of filth by this author.’ So, fine. You skim past the amateur comment and go fix the book so that the special agent DOESN’T flick off the safety as she steps out of her SUV. I think my books are orders of magnitude better because of the bad reviews. I figure that if somebody came up to me on the street, pointed, laughed, and criticized my outfit, I’d shake my head and move on, not in the least worried about that person a few steps later. But if her criticism is, ‘Your fly’s down … oh, yeah, and your pants are on backwards. Idiot,’ well, then, I want to know that. 6. Screw it. I don’t need social media Early on, I adopted the stance that I needed to write my way into relevance as a writer, not tweet, post, or whatever my way into it. Once I adopted this mindset, a weight lifted off my back. I hated it for some reason. I couldn’t get a grasp on social media, so I just let go of it. My investigation leading up to my decision showed a correlation between how much an author published books and how successful they were, between how many positive reviews a book had and how successful it was. I could check an author’s success by looking at the rankings of their books on Amazon and other market places. There was no correlation, however, between how present people were on social media and their book rankings. In fact, more often than not, I saw that people who were successful had all but abandoned their social media accounts. In contrast, there were people all over Twitter and Facebook, with hundreds of thousands of friends/followers, and books lost in obscurity. Clearly there are exceptions, and some people have great success with social media, but my reasoning was: you write your way into being a writer. I rarely post on Facebook, and when I do, it’s usually a link to my new books – classic poor social media behavior. Screw it. I don’t care. 
7. I am accessible
I respond to every communication sent to me. I think this is huge as a writer, or as a person in general. Nothing irks me more than somebody simply not responding to something. The most surprising thing about writing, and that I sometimes get all teary-eyed about, is the amount of love people will send your way after they’ve read your novel. People will click on the email address (which I put in the back of the book) and contact me, telling me how much they like my book. For me to not say thanks is plain psycho. Plus, it’s just good business. People who like you are more likely to share the news about your work. 8. I have a newsletter email list This is one of those things I heard people preaching – you have to have an email list of readers – but never did anything about. It took me four freaking books to finally put my email list in place. But I finally did, and that’s when I was finally able to write full time. It only took two days to write and publish a short story, which I give away on my blog as a thank-you if somebody signs up for the new-release newsletter. Now, when I have a new release, I launch the book to thousands of people, versus dropping it into a field of crickets. 9. I write in sprints first, edit later This is one of those huge game-changers for me. I was getting upset sitting in front of the computer every day but only coming out with one or two thousand words. Now, I write in sprints, which means I write in thirty-minute blocks, take a five-minute break, and then do it again. Using the backspace button is not allowed (a rule I break all the time … my OCD won’t allow David Wolf’s name to be Wols for more than a few seconds). It took me six or so books to employ the sprint tactic, and now I’ll never write any other way. 10. I have a self-editing PLAN After tapping out a real crappy draft of a terrible book, then going back through a few times, editing, ironing out inconsistencies, tightening up descriptions of dead bodies, etc., I have in the past simply read and re-read the book, then tweaked until I felt it was ‘as good as I can get it’. I’m ashamed to say, it’s only been recently that I’ve implemented a self-editing plan. The plan is something like …
11. I hire an editor who does it for a living, for a rate that allows her to do it for a living After seven books, going through three editors, and becoming frustrated with the service I was getting, I realized that I needed to hire an editor who was an editor and only an editor, and who charged a rate that clearly allowed her to feel properly compensated. The alternative is hiring somebody who does the work on the side for cheap. They’re pressed for time. They’re secretly (I imagine, because I would be) pissed off about being underpaid for a job that deserves more money. The equation adds up to a poor editing job on the finished product … suspicious stretches of pages – five, ten at a time – without a single mark on them. The saying goes, ‘You get what you pay for,’ and it can get tricky when paying for editing services. For years, I tried to get away with paying less. And I definitely got less. ... In today’s publishing environment, I know that, for me, every bit of advice helps. I hope at least one of the tips above helps you on your journey to becoming a successful self-published writer. 
Where to find Jeff and his books
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly.
If you’re at the beginning stages of your writing career, you’ll still be navigating your way through the world of publishing. And you probably have a ton of questions. One of those will likely be: What kind of editor do I need to help me get my book ready? The natural follow-up to that is: How do I find that person?
I offered guidance on what kind of editor to hire and when in ‘The different levels of editing. Proofreading and beyond’. Today, I’m focusing on how you should source that person.
So as not to muddy the waters, I’m assuming you’ve already decided what kind of help you want: developmental, copy/line editing or final prepublication proofreading. If you’re still not sure, I’ve included a PDF that summarizes the different levels of editing at the bottom of this article. Now let’s look at how to find the right person. My recommendations fall into two categories:
Search (1): Professional associations
Your national editorial society is a great place to start, for four reasons:
The UK’s professional editorial association is the Society for Editors and Proofreaders and there’s a global list here: Professional societies and associations. A limitation of national professional editorial societies is that they’re national. There’s absolutely no reason why you should source editorial help from someone in your own backyard. Many editorial pros work with clients from all over the world. Search (2): The internet The internet is the biggest and most amazing directory on the planet so it’s a brilliant place to search. Your perfect-fit editorial pro is out there, just waiting for you to touch base. There’s a problem, though: the internet is the biggest and most amazing directory on the planet so it’s a terrible place to search. Your perfect-fit editorial pro is buried, waiting for you to dig her out. Go too broad with your keywords and you might miss her. Go too narrow and … yep, you might miss her. Of course, you might find her, too. As Google sometimes prompts us: are you feeling lucky? And there’s something else to bear in mind – and I say this as someone with page-one Google rankings for the term ‘proofreader’, so it’s not a case of sour grapes – being high up in Google doesn’t mean the proofreader or editor is necessarily the best fit for you; it means they’re an effective marketer. And, conversely, just because someone’s website is ranked highly for niche long-tail keyword searches doesn’t mean that another person who didn’t pepper their website with those particular terms isn’t worth considering, too. That means you need to do a lot of Google legwork to find the best fit and to get a really good batch of potential people to work with. I’m not saying don’t use the internet. Its global nature is an appealing feature, one that the national editorial societies can’t compete with. I’m saying recognize its limitations. It’s amazing but it’s crowded, so you’ll need to invest some time to make it work for you. And that’s why I’ve given professional associations the number-one slot in this list of search options. Search (3): Your network If you’ve developed a solid network of fellow writers, that could be a super resource from which to get recommendations. Bear in mind, however, that the best fit for your writer pal is not necessarily the best fit for you. It’s a small resource given the size of the decision. You might be writing in a different genre, or you might need help with a different level of editing. Some professional editors specialize in one or two levels (e.g. proofreading and copyediting; or developmental editing and manuscript evaluation). Others offer all of the levels but still feel most comfortable in one or two. So tap your network for advice, but back it up with other searches. Search (4): Social media Social media platforms can be useful. They’re global but they have their limitations:
Here's a summary of the tools you might use to search for an editor or proofreader: 
Now let’s take a look at how you might refine your initial searches.
You’ve found 37 developmental editors or copyeditors or proofreaders … whatever you need. All of them look great – they all have experience; can spell properly; are well educated and professional; and have a keen eye for detail and the appropriate training and qualifications. How are you going to narrow that down to something manageable? Refine (1): Genre experience One way is to look at their portfolios, which tell you whether they’re used to working with books in your genre.
Refine (2): Best versus best fit – samples Best versus best fit is worth considering when it comes to choosing third-party editorial help. At proofreading stage, you need precision; it’s all about quality control. At the earlier stages of editing (e.g. copy/line) emotional engagement will come into play. It’s therefore a good idea to ask for a sample (either free or paid for). A sample will allow you to see who ‘gets’ your writing. Sentence-level tweaking is subjective to a degree (when it comes to suggesting minor recasts, for example) and it may be that five editors all spot the same typos and grammar errors but handle the wordiness rather differently. It’s not about right or wrong, but rather about responsiveness. Refine (3): Endorsements A third narrowing-down technique is to look at what other writers say about a proofreader or editor. Take a look at their testimonials. Have other writers been prepared to publicly endorse the editorial pro? Have mainstream publishers stuck their necks out and praised the work? Testimonials aren’t a foolproof way of determining excellence; like portfolios, they give you a glimpse of what the editors have done, whom they’ve worked with and the impressions they’ve made. They’re just one way of evaluating what’s on offer. So that’s it – a potted guide to finding a proofreader, copyeditor or developmental editor. I wish you luck with your search and with your writing journey! Here’s the information on the different levels of editing I promised. Just click on the image to download. 
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly. How do mainstream publishers produce books? And should you mimic them? Help for self-publishers15/5/2017
A lot of my self-publishing clients tell me they don’t understand what happens in the mainstream publishing industry’s editorial process. So when I advise them that – if they have the budget – they should do their best to mimic it, they’re in the dark.
How do mainstream publishers produce books?
Today’s post aims to switch on the lights by offering you an overview of the editorial production chain. It should give you a sense of why books take so long to get to market and what some of the costs are (to the publisher and even to the author!). Every press’s editorial production chain is slightly different but the broad principles apply. A note on scheduling … and marketing In the mainstream publishing industry, books are commissioned and scheduled for publication often up to a year and a half in advance, sometimes longer! That time frame isn’t down to the publisher being busy with other stuff; rather, it’s about giving the relevant team members the necessary time to take the book through a rigorous editing process and carry out a staged prepublication marketing campaign. TOP TIP: When self-publishing, instead of promoting your book at the eleventh hour, plan and implement your marketing campaign well ahead of launch. That way, you can create a fan base and generate excitement about your novel before it goes to market, even pulling in some pre-order sales.
3. Design #1 When the key members have agreed that the correction stage is complete, the raw-text files are handed over to a typesetter (if the book is to be printed). This is where the first proofs are created. The typesetter formats the book so that the layout conforms to the agreed house style and is designed so that maximum use of the page space is made. Printing is very expensive so minimizing wasted white space is a key factor in the process. The typesetter needs to balance costs against aesthetics.
This is the FIRST PROOF stage. The first proofs are essentially a first draft of what the finished product will look like when it’s picked off the shelves in a bookshop. The completed first proofs are delivered back to the production manager.
KEY MEMBERS: Author, production manager, typesetter 4. Proofreading The production manager sends the first proofs (perhaps a chunk of paper but increasingly a PDF) to the author and the proofreader (usually a freelancer). Both will check them carefully. The proofreader may be asked to proofread blind or against the original raw-text files worked on by the copyeditor (the latter is much slower). The proofreader’s job is not to make extensive changes, but rather to draw attention to any final spelling, punctuation, grammar, consistency or logic problems missed at earlier rounds of editing or introduced during the typesetting stage. Every change the proofreader makes or suggests needs to be handled carefully in case it has a knock-on effect on the design, the page count and, consequently, the printing costs. It’s demanding work that requires experience and judgement about when to change and when to leave well enough alone. Some publishers even pass some of these costs back to the author – eek!
This is the QUALITY CONTROL or CHECKING stage. The proofreader does not amend the raw text but annotates the paper or digital pages, often using proof-correction markup language (a kind of shorthand that looks like hieroglyphics to the untrained eye!).
KEY MEMBERS: Author, production manager, proofreader, typesetter 5. Final revision: Design #2 Now the proofreader’s corrected file and the author’s version go back to the production manager, who has to collate all the final amendments and instruct the typesetter to make the necessary corrections. The typesetter creates a revised file and returns it to the production manager for sign-off.
This the SECOND PROOF stage. We’re nearly there!
KEY MEMBERS: Author, production manager, typesetter 6. File creation and distribution (print, digital or both) The final countdown! The production manager works with the typesetter and printer to create the final print book that will be delivered to the relevant distribution channels. In the case of e-books, the production manager will commission a digital formatter to create e-Pub files that are compatible with the market’s major e-readers and other digital devices.
This is the PUBLISHING stage. The book is delivered to market!
KEY MEMBERS: Production manager, digital formatter, typesetter, printer The elusive publishing deal and the editorial process As you can see, there are a lot of stages and a lot of people involved. And that’s why it takes so long and why it’s so expensive to publish. It also explains, in part, why writers can find it so hard to get a mainstream publishing deal; if the book bombs, there’s no return on all that investment. For publishers, novels that need a lot of work, or that don’t fit neatly into an obvious and currently popular genre, are difficult to sell (the high-street bookshops don’t know where to place them to grab readers’ attention). Should you mimic the mainstream publishing industry's editorial process? Mimicry will bring you quality – there’s no doubt about that. It’ll also require a major investment in time and money. We all have to make difficult choices about what we do to make the things we create the best they can be. But there are limitations. I’m passionate about the independent author’s right to write, and I know that your pockets aren’t bottomless. I hope this has shed some light on the mainstream publishing process! Until next time …
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly. Querying, changing, and letting be If you’re new to fiction copyediting (or proofreading), you might struggle to find the balance between changing, querying and leaving well enough alone. Don’t beat yourself up – even experienced editors labour to find an equilibrium at times, especially those who work with a stream of new-client authors. 
Here are 5 tips to help you be a query superhero! And if you fancy downloading them to your preferred device, there’s a PDF at the bottom of the post.
1. Is it meant to be real or imagined? By definition, fiction is made up. There might be people, places, landmarks, buildings, even entire worlds that rest entirely in the mind of the writer. In that case, the author gets to make the rules (e.g. on spelling, environment, even physics) and our job is to check for consistency. Sometimes, though, the people, places, landmarks and buildings exist in the real world. And when there’s a discrepancy (Obama vs Obamah; Elizabeth Tower vs Big Ben) two possibilities emerge: (1) the author has slipped up; (2) the author has deliberately decided to bend reality a little, for any number of reasons. Querying, rather than changing, is essential.
Here’s an example from Amy Schneider in her Fiction Editing master class (available from Copyediting):
Example
Schneider tells of a book she edited where the author had included mention of a New York newspaper. She fact-checked it; it had been a real newspaper, but had long ceased to exist by the time the year in which the novel was set had come around. It turned out that this was a deliberate decision on the part of the author, who for personal reasons wanted to keep the paper going in his fictional world. Tactful querying and discussion prevented embarrassment and harm.
LESSON: there’s real, and then there’s really real! Either may be required.
2. When the facts have changed Editors have a wealth of free online research tools at their fingertips. I can’t imagine doing this job thirty years ago! Still, even if we fact-check we might not access ALL the relevant information. Again, tactful querying rather than changing is usually the best way forward. Here’s an example of how my due diligence wasn’t diligent enough. Querying rather than changing saved me:
Example
I copyedited a crime novel in which a character was arrested and his rights were read out to him by a police officer. The wording seemed off to me so I fact-checked. I found what I thought was the correct wording and suggested (rather than changed) a possible recast for the author to use if he thought it appropriate. Good job, too. The author came back to me saying that the wording of the rights had changed in 1994, and that the original was correct given the year in which the scene was set. A big whoops-moment for me and a lesson learned. Still, he thanked me for asking first. I still get the shudders thinking about the harm I would have done if I’d actually amended the text directly.
LESSON: Watch your historical context – your diligence needs to be deep enough to take account of it.
3. Be a problem solver Many of my indie authors haven’t taken their books through editorial review, developmental editing and substantive line editing before the file hits my inbox. I do make it absolutely clear what’s included in my service, but sometimes a client might not realize where some of the problems are, or, even if they do, might be stuck on how to fix them. This is where the query needs to go beyond a question and offer a solution. Fiction copyeditors are a little like mechanics, though I have a car so I know what it’s like to sit on the other side of the fence. When I take my car into the garage, I don’t expect to hand over 500 quid (or whatever) in exchange for a list of what’s wrong with my car. I do want to see that list, but I also want to know that the mechanic has solved the problems. For that reason, I think it’s good practice to explain the problem and offer a recast in the comments if we come across a sentence that we feel could do with tightening up or smoothing out. That way, the author can do a simple copy and paste if they like what we’re offering. Even if they don’t like it, it gives them another way of thinking about the text and how they might revise it to solve the problem in their own way (though see ‘Consider your own voice’ below for a cautionary tale!). This example from Erin Brenner (‘Writing Effective Author Queries’), with her author’s hat on, is frightening but illuminating:
Example
'I had a lot of comments that simply said: AU: Revise? No text was changed. No specific words or phrases were highlighted. The entire sentence bore the comment “AU: Revise?” It drove me mad. Revise what? In what way does this sentence need help? For each “AU: Revise?” I had to guess what the copyeditor might have taken issue with. Was everything grammatically correct? Had I missed a style point? A usage rule? How was the sentence not right? As copyeditors, we must remember that when we query, we have a goal: to get the author to make a change we think will help the text. Some authors will easily do so, others won’t. But no author can make corrections if he or she doesn’t know what corrections are wanted.’
LESSON: Problems without solutions (or even explanations) are next to useless for the author. Avoid!
4. Or be an adviser Back to the garage. Sometimes there are problems on the list than the mechanic can’t handle. Again, the same thing can happen to fiction copyeditors whose indie authors would have benefited from developmental work beforehand. And in that case the best we can do is suggest where to go for help. Here’s another example from my own back yard:
Example
I was hired to copyedit what turned out to be the most gorgeous thriller with a generous dose of humour included. The author made me laugh out loud several times in the first four chapters, and in the fifth he made me cry (not with laughter, but because the scene was so moving). I mention this because it’s an indication of how strong the writing was. Most of my edits were mechanical – standardizing dialogue punctuation, dashes, number treatment, spelling, punctuation and grammar. But, every now and then his point of view got a little sticky. POV isn’t something that’s covered by my service and I’m neither trained nor experienced in developmental editing. Nevertheless, I was able to solve the issue elegantly on several occasions because of the context in which the problem arose. However, there were several occurrences that I couldn’t fix. All I could do was flag them up for him, explain why I thought there might be a problem, and offer advice on where to go for help. It wasn’t an ideal situation for either of us, but at least I’d offered guidance. Sometimes that’s the best we can do.
LESSON: Second best sometimes has to suffice. If you can’t fix it, suggest who can.
5. Consider your own voice Given that we’re being paid for our services, our authors need to know that we’re their advocates, and that we’re there to elevate their writing, not criticize how they write. Says Sheila Gagen, ‘… the editor’s task is to serve readability (not, as some authors might think, to hack away at text or, as some editors might think, to point out where an author is wrong). The author wrote the text; he or she must have thought that it did make sense’ (‘The Art of the Editorial Query’). Queries therefore need to have a tone that shows respect and advocacy. Gagen also makes an important point about authors’ varying preferences – how not everyone wants to be hugged and handheld. The thing is, this is tricky to manage unless you’ve worked with the client on previous occasions. Here’s her story:
Example
‘Twice in my career, authors responded to my queries with the same word: “Duh.” (One even took the time to handwrite it in all caps with a few exclamation marks.) Both of those suggested changes were valid, but the authors were sick of my queries and gave up. As a result, they didn’t just lash out at the particular remarks they didn’t like … they ignored other, indisputable edits.’
LESSON: Be an advocate and watch your manners! Choose elevation over criticism.
Gagen recommends discussing the issue before the project starts. It may be that a writer will prefer you to just go ahead and make a substantive edit to the text. Others may want a nudge. Others will prefer a more detailed explanation in the comments. And given that we’re trying to help our authors avoid reader disengagement, it would be a shame if, through hitting the wrong tone, we ended up disengaging our clients. Adrienne Montgomerie offers further food for thought: ‘When you’re worn out, incredulous, and exasperated, it can show in your queries.’ Eek! To think that, despite our best efforts at advocacy, we might have made our author feel we’re no longer on their side, is unthinkable, and yet it can happen. She offers a handy list of different phrases you might consider when querying to keep your author engaged and your tone on track (‘10 Ways to Word a Sensitive Query’). I hope you’ve found these tips useful. Here’s your PDF mini-booklet if you fancy downloading the post to your device. Just click on the image to get your copy. 
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to join Louise’s Writing Library. Members receive monthly updates featuring self-publishing news and resources.
If you’re new to writing and self-publishing, I have a tip for you – one that will save you a major headache as you work through the initial writing and later redrafting stages of your novel ... Create your own style sheet!
Honestly, you won't regret it. Building a style sheet is like holding hands ... but with yourself.
It'll help you keep track of what’s going on in your novel – who’s who, what’s where, and when X, Y and Z happens. At the same time, you'll be able to record your preferences for the micro elements of your book ... things like spelling, punctuation, the rules about the way your fictional world works, and how you treat the various elements of the text (from paragraphs and headings to narrative, speech and thoughts). Want a template to help you get going? No problem – there’s one at the end of this article. It’s in Word so you can add, delete or tweak to your heart’s content. Ready-to-go downloadable handholding! To help you out, I've added some of my own recommendations (based on industry-recognized conventions) and offered choice where appropriate. What’s included in a style sheet? You can include anything you want but a solid, usable style sheet that'll really help you keep an eye on what's going on will include at least the following:
Some writers like to have everything in one place; others prefer to have several documents, each of which records different types of decisions, and toggle from one to another. It’s your choice – whatever helps you work most productively. So, for example, you might create different sheets for the following:
Additional uses A style sheet really comes into its own if you're writing a series. Not only will you have a reminder of the places, people and events in the previous book(s), you'll also be able to prevent accidental inconsistency or repetition. I've proofread series for both indie writers and mainstream publishers. The authors hadn't kept a written record of what had gone before, and different copyeditors had been used for each book.
Copyeditors and proofreaders can spot these problems when they occur within a single book, but if they weren't hired for the previous novel(s), they'll be ignorant of inconsistency or repetition across the series. Your style sheet will enable them to flag up potential errors. In other words, a style sheet won’t just help you. It’ll help those who assist you, too. And the more we know about what you want, the better the service we can provide for you. Rules versus preferences Your decision is final at the end of the day. And while I and my colleagues can give you advice based on industry-recognized style manuals such as The Chicago Manual of Style or Oxford’s New Hart’s Rules, those resources are not the law (though they are excellent!). Rather, they’re reference points that help writers and editors bring clarity, consistency and readability to text; they’re usually based on preference and convention, not rules (despite the title of the Oxford guide mentioned above!). If you're not sure which particular element of style will suit your book best, talk to an editor.
The thing to keep in mind is this: inconsistent styling will distract the reader and move them away from what they should be engaged with – your story. If you have any questions about issues of style, drop me a line in the comments. Even if I don’t know the answer off the top of my head, I’ll know where to find it and advise you accordingly. Here’s your style-sheet template as promised. Simply click on the image below to download it. I hope you find it useful. Until next time ... 
Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in supporting self-publishing authors, particularly crime writers. She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, and an Author Member of The Alliance of Independent Authors (ALLi).
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
If you're unsure about why proofreading, copyediting, line editing and structural editing are different, and how you might allocate your self-publishing budget, here's some guidance ...
Polishing your text and building fans
Readers who've enjoyed your book are more likely to leave positive reviews and come back for more. Readers who've been frustrated with aspects of your book are more likely to leave negative reviews and reject further opportunities to engage. One way of thinking about these groups of readers is in terms of zones. The happy readers are in the green zone, the grumpy ones in the red. Thinking in terms of these zones can help writers to decide which editorial services to commission, when and why. Readers have different expectations and levels of knowledge. If there are problems with the text, some won't realize. Or they will realize but won’t care. Others will care very much and be frustrated by the lack of polish. 
Copyright Louise Harnby | Proofreader 2017
It's about putting your readers front of mind because they're your fans, the people who'll rave about you and tell everyone to buy your book. Fans hang out in the green zone.
Let’s assume for simplicity that the readership is split evenly between those who don’t know or care that there are problems in the book and those who do know and care. Who’d want to alienate 50% of their readership? If you’re self-publishing, you’ll want to stay out of the red zone. That means getting your book in the best shape you can before you publish. Mimicking the mainstream publishing industry What you need to do to stay out of the red zone will depend on whether you’re a mature, developing or emerging writer and the degree to which you've mastered your self-editing skills.
These are the stages, broadly speaking, that the mainstream publishing industry takes its books through to keep its authors in the green zone. In reality, the production process varies from press to press, but it gives you an idea of the traditional approach. It’s not just publishing-house processes that vary. The terminology that independent editors use to define their levels of service provision differs widely too. For example, my pre-publication proofreading service is called Proofreading Standard. My copyediting service falls under the rubric of Proofreading Plus (and I include line editing when required). It’s therefore advisable to discuss what you want and what the editor can offer before the editing starts. The table below gives you a broad idea of the different stages (S1, S2 etc.) of professional editing and what they include. As you can see, I’ve allowed for a fair degree of overlap.
Artistry versus wizardry
Gandalf isn’t an editor or a proofreader; he’s a wizard! If he did my job, he’d be able to carry out all of the editorial stages above and find every single niggle, error and inconsistency in just one pass. That’s because he has magical powers – unlike publishers and independent editors! 
In the real world, though, you’ll have a budget, and some of you will have to make difficult decisions about which services to commission and which to omit (or how you're going to save up for everything your book needs).
It’s not for me to tell you here where to invest your budget – universally applicable advice is impossible given the number of factors to consider. What I can tell you is that I've never been able to undertake a final proofread for a book that hasn’t been copyedited first. Proofreading is the stage where 90% of the sentence- and word-level problems (and 100% of the big-picture work) should have been fixed – it’s a final level of quality control. Furthermore, I've never finished a copyedit and told the author, 'That's it. It's perfect!' In a nutshell, good to go is unlikely to be where you’re at if you hire an editorial professional for just one pass. Good enough will have to suffice. I'm not being grouchy, just honest about what's possible. I'm a genuine advocate of the independent author's right to write and publish. I think it's brilliant that anyone can put their storytelling out there. My young daughter was publishing her own stories on WattPad before she was celebrating a birthday with double digits! How marvellous is that? As long as you understand what's achievable, that's fine with me! Guidance on making the tough decisions
That's it for this week. I hope you've found the advice here useful. Enjoy the green zone!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly.
Can you proofread your own book? Here's my advice on what can be done, and how you can do it.
Truly, nothing beats a second pair of eyes on a piece of text, short or long. I know this all too well because I’m a professional proofreader and copyeditor, but I also write – books (yup, I've self-published four times), guides, booklets and blog posts.
And I miss stuff – not because I have a problem with grammar, punctuation or spelling, but because I’m too close to the text. I see my own writing in terms of the ideas I want to convey rather than the text in front of my eyes. That’s why I hire fellow proofreaders and editors to help make my written materials the best they can be. I don't expect those people to guarantee perfection but I do expect to them to ramp up the quality (and they've never failed me). Here’s another thing I know – the better shape the file's in, the better the price. Editors and proofreaders are professionals and, though we love what we do, we have bills and mortgages too. So, very broadly speaking, the more intervention needed, the higher the fee. There are things every writer can do to tidy up a piece of text by themselves, though. I’ve compiled them in one handy resource: The Author’s Proofreading Companion. The steps in this toolkit won’t replace a rigorous professional developmental edit, line edit/copyedit and final prepublication proofread, but they will help rid your file of some of the nasties! Here’s what the Companion shows you how to do:
Just click on the image below to get your FREE copy! 
Hope it helps! And come back soon for more handy tips and advice designed especially for beginner writers.
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly.
This article is for editorial folk who currently choose to operate their businesses in isolation. There's nothing wrong with that at all if that's your bag, but I hope this will show you just some of the benefits of networking.
In ‘The rates debate’ and 'The highs and lows of editorial fees', I argued that colleagues shouldn’t be the primary determiners of the price we set or accept for editorial work.
They are, however, our go-tos for much else, and the professional editor and proofreader would be bonkers not to take the opportunity to exploit the myriad learning opportunities on offer from those with different skills, levels of experience, subject specialisms and environments! Rather than just writing a list, I thought it might be more interesting to give you a few examples of how some of my colleagues have helped me to develop my editorial business. The list isn’t exhaustive – it would be a book if it was – but it should give you a flavour of what’s on offer.
Learning a new macro
I like to consider myself pretty strong on the editorial tech-tool front. And yet I’d lost count of the number of times I’d forgotten to switch Track Changes back on after I’d toggled it off. I needed a solution – some sort of visual or audio reminder. My pal Gordon Hooper came to the rescue. Gordon’s a fellow member of the Norfolk SfEP local group. Turns out that my other colleague Paul Beverley had already tackled the problem with a macro: if you fancy trying it for yourself, you can read about how it works and how to install it at ‘How to never forget you’ve switched off Track Changes!’. 
Tightening up my marketing message
Last year, I spent some time thinking about how I could better present my services so that they reflected the reality of what I spend most of my time doing – proofreading and copyediting for indie authors. I understand perfectly well the traditional definitions of these skills but in the real world they’re rather tangled (see, for example, ‘The proofreader’s corner: Untangling proofreading’). Again, it was my professional network that came to the rescue.
Understanding another skill
Development editing isn't a service I offer. That doesn't mean I'm not interested in learning about it, though. I've started to expand my knowledge via colleagues who have experience in this macro level of editing.
Using Word more efficiently
In the past 18 months, two editorial colleagues have written blogs that have had a significant impact on how I use Word.
Using a gadget
One of my bugbears has always been having to use hyphens for en dashes on my iPad and iPhone. A discussion on the SfEP forum, started by Lisa Robinson, showed me that Apple has provided en and em dashes – I just hadn’t realized that if you hold down the hyphen button a small window opens and you can slide your finger to your preferred dash. I was delighted, and I wasn’t alone! That thread was full of useful tips. If you’re an SfEP member, you can access it via ‘Dashes’. 
Discovering new tools
I love any editorial tool that can increase my productivity or enhance my professionalism. Colleagues alerted me to two particular favourites.
Maxing out an existing tool
I hadn’t been getting the best out of PerfectIt, even though I’m a long-time user. At another SfEP Norfolk meeting, Mary Sheridan and Sarah Patey taught me how to use the wildcard function more effectively. This, combined with Jack Lyon’s Wildcard Cookbook for Microsoft Word, has been a real productivity enhancer. PerfectIt tends to handle wildcards a lot better than Word when Track Changes is switched on, something else Sarah taught me via Facebook! 
Quoting mechanisms and publicizing rates
Pricing issues affect every editorial freelancer, and although fee setting needs to be done using a deeper level of analysis than just following what colleagues are doing, there’s still a lot a colleague can bring to the table.
These two examples proved to be excellent reminders that testing is essential for the editorial freelancer who wants to learn whether a colleague’s way of doing things is appropriate for their own business.
Making friends
My colleagues can do something a book or a course can’t. They can become friends. I’ve made so many edi-buddies that I can't even begin to list them all. What I can say is that Kate Haigh's campsite spag bol borders on legendary; the AFEPI crew at last year's SfEP meeting almost made me want to emigrate. I wish Sophie Playle still lived in Norwich because I miss having coffee with her. I wish Rich Adin lived in the same country so that I could have just one coffee with him. Nick Jones has made me laugh via Facebook Messenger too many times. Janet MacMillan's soup ... You get the point. 
Sourcing professional help
I decided to hire a couple of proofreaders for my blog in 2016. When I’m writing, I don’t behave like a proofreader. I have my authorial head on. That means I’m too close to my own words to spot all my errors. I bit the bullet and decided to work with some fellow professional proofreaders. Whom to pick though? I needed some recommendations. John Espirian, in his capacity as guardian of the SfEP directory, had a couple of names up his sleeve and they haven’t disappointed. Cally Worden and Anna Black are my go-tos. They’ve done a fantastic job for me and I wish I’d sourced them years ago. Of course, I still have to upload their gently edited work to the Parlour, and, I’ll be honest, sometimes I just can’t help making a little tweak here and there, post proofreading (I know, I know!). So if a typo has slipped through, it’s my fault. 
Finding your tribe
There’s a tonne of other stuff that colleagues can help with – I’ve only scratched the surface. If you’re reading this and you’re not connected, consider the benefits of changing the situation.
Ultimately, editorial freelancing is about running your own business, but there are plenty of people who’ll support you in its growth if you find a comfortable space in which to meet them!
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to join Louise’s Writing Library. Members receive monthly updates featuring self-publishing news and resources. Changing famine into feast ... quickly I discussed some of the problems of relying on one editorial client back in 2013. The issues I raised then are as valid today as they were four years ago, perhaps even more so given the current economic and political climate (both here in the UK, and elsewhere). 
This article revisits the problem and includes an emergency business-promotion plan.
The booklet, SOS editorial marketing strategy: Quick fixes for big emergencies, is free to download. I sincerely hope it helps you if you need some inspiration during tough times.
Why one client isn’t enough
Having only one client when you’re an editorial business owner is problematic for two reasons:
The client-losing editor You can lose clients for reasons completely beyond your control, including:
The client-reliant editor There are several reasons why you might become reliant on a client:
On paper, those are good reasons to work for a client. However, if it’s your only client, and things turn sour, you have a problem:
If you have only one client, you have no choice – nowhere else to shift your focus, no one else with whom to negotiate, no one else from whom you can accept improved pay or working conditions, and no opportunity to phase out the one (now problematic) client on whom you rely. Emergency marketing strategy Whether you’ve lost your only supply of work or you’ve fallen into the trap of reliance on a now unsatisfactory client, there is action you can take immediately. Here’s the free SOS editorial marketing plan I promised. Just click on the image to download. 
The work you do … and the work you do to get the work you do
If you’re a freelance editorial pro, you’ll always have two jobs:
Pay attention to the latter so that you’re not at the mercy of the former. It’s essential to protect your future interests by building a portfolio of several clients rather than focusing all your energies on one. If you put all your eggs in one basket and things go pear-shaped, the impact on your editorial business, never mind your emotional wellbeing, could be devastating. If you’re not facing an emergency, you can afford to spread your business promotion over a longer period and focus on slower-burn activities such as content (value-adding) marketing. But if you are in crisis mode, there is action you can take right now that, with commitment, will generate positive responses. You’re not a newbie – you have experience and you’ve already proven your ability to acquire a client. That’s a great position to be in, so use it to your advantage! Good luck! EDIT JULY 2018: I've created a free webinar that deals with this matter in even more detail. Click on the image below to access it. 
Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in supporting self-publishing authors, particularly crime writers. She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, and an Author Member of The Alliance of Independent Authors (ALLi).
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Part of my mission with this blog is to help new entrants to the field understand the challenges and benefits of editorial freelancing, and to assist them as they navigate the early stages of their careers. There's no one way to build a business and one's background and preferences will influence the path taken. That's why, from time to time, I like to feature colleagues, particularly those who have a different skill set or career background to mine.
With this in mind, I'm delighted to welcome technical editor Peter Haigh to the Parlour. Peter discusses how he took a strategic approach to developing his editorial business, using his career specialism as a springboard ...
Hello. For those who don’t know me, I’m Peter Haigh and I used to be an electrical power systems engineer. Since November 2015 though, I’ve been a freelance copy-editor and proofreader.
This article is a little bit of a retrospective of how I went from being an engineer to being a proofreader and copy-editor and how I used my specialism to help with this. First, a little background and then I’d like to explore a few truths and myths about 'specialist proofreading' and share my experiences of getting started and then beginning to mature in the world of freelance proofreading/copy-editing. Why the move into proofreading and copy-editing? So, there I was, happily playing with spreadsheets and algorithms (specifying harmonic filter requirements for offshore windfarms) and one day I thought, 'I know, I want to be a proofreader.' Really? No, not really. Then why? It was all part of a deliberate plan to adopt a location-independent lifestyle. I work from apartments near beaches, forests and cities around the world and when I get bored I (along with my companion, Kate of kateproof) simply move somewhere else. That, coupled with the joys of setting my own work hours and leaving corporate quirks behind, was more than enough reason for a complete change of direction. Further details available here. What did I do to get started? Well, I kind of cheated. Having a wife that is now seven years into her freelance career – her empire is now established: an Advanced Professional Member of the SfEP with plenty of queries coming in – was a massive help. The Proofreader's Parlour (thanks, Louise) was also a mine of helpful resources and advice on a breadth of topics, marketing in particular. I did some basic online training and read some books and did their exercises, but I also benefited greatly from having a live-in mentor and trainer. How did it all evolve? The basic flow was: launch a website, do some training, practise on badly written work, build a web presence, do more marketing, develop confidence in my skills, win some good clients, keep them and then look for more! I confess: I still get about 50% of my work in the form of referrals from my wife. The other 50% comes from my website or from an agency that I signed up with last year. How did I market myself as a specialist proofreader/copy-editor? The first steps were made before I left my engineering job. I gathered together all of the business cards I’d collected throughout my career and I connected to as many people as I could on LinkedIn. I told my colleagues about my plans. I hoped that it might lead to work. So far it has led to copy-editing a colleague’s PhD thesis and I continue to edit for a CIGRE working group on a pro bono basis. Maybe one day it’ll pay off, most likely via word of mouth: I left on good terms. How did the client base evolve? To begin with, I sought out power system engineers and power engineering consultancies to scout for work. From this approach, I got one repeat client but on mates’ rates so it paid quite badly. Then, I spanned out via LinkedIn to say hello to various consultancies from all sorts of fields: environmental management, mechanical engineering, pretty much anything where I could connect with someone at a suitable level and very briefly introduce myself and my services. I think it was this that led to me winning what is still one of my best clients: an engineering consultancy, though nothing to do with windfarms or electricity. Another great client I found this way is a financial algorithm developer. How much does the specialism help me? This is something I ask myself sometimes, particularly when clients contact me specifically because of my specialism. With the advantage of hindsight, I sit on the fence a little and say, 'it depends'. When getting started When I set out, I was confident that I could find work in my specialist niche. I guess I did find a little bit of work, but then it’s a highly specialized niche and so naturally the opportunities are limited. I also discovered that large companies have well-defined processes for recruiting freelancers and tend to prefer dealing with large agencies or subcontractors. I remember battling with procurement restrictions from my days of engineering: it doesn’t matter if you are the best proofreader in the world, or how cheap you might be; if you’re not Achilles-registered then you will struggle to work for a utility. (And you don’t even want to know how hard – and expensive – it is to get registered.) To sum it up, I’d say that it helped a little bit. It gave me focus for my marketing, somewhere to start, and in an area where I had a clue about what made the clients tick and what the fancy technical words meant. It felt like I had a USP. Nowadays These days I have ditched my low-paying client from within my niche and continue to look for clients from a far broader range of fields. Most importantly, I have redefined what I think my specialism is. I am no longer a specialist in proofreading/copy-editing power system engineering documents. I’m not even an engineering specialist. I am someone who specializes in improving technical, numerical and scientific documents. Does my specialism help the client? My honest answer: my specialist power systems knowledge does not help them at all. However, at the more general level of being comfortable working with equations, tables, graphs, variables, and other forms of scientific text, I would say that this helps with a wide range of clients. From financial algorithms to social science surveys, knowing your natural log from your base 10 and spotting an unbalanced equation can earn some brownie points at times but, the thing is, that really isn’t proofreading as I know it. I’d say that as you move up the scale towards developmental editing, it becomes more important that you have some appreciation of the subject being worked on. For proofreading it doesn’t help much at all. In fact, here’s a geeky graph to illustrate this: 
*Note: I made the numbers up.
Do qualifications and experience help? I think that at any stage in a career, it is possible to rest on one’s laurels. When starting out, they may be the only support available, so I’d recommend using them as a springboard, along with any specialisms, and growing from there. I certainly set out to build on my specialist experience at first, then sought ways to hone my skills, grow capability and branch out into new fields of experience. Hang on, I can feel a pie chart coming on! 
Let’s take a look at each slice of pie.
Degree qualifications I am yet to work on anything related to my philosophy degree (past life) – other than a blog article on the philosophy of proofreading – but it did expose me to lots of books, and I wrote lots of academic essays, dissertations etc. I’d say this helped me a little bit. My engineering degrees exposed me to lots of technical documents, maths and other science stuff, as well as helping my confidence when setting up as a proofreader/editor by giving me a USP. Specialist experience My work experience as an engineer helped expose me to writing, editing and reading lots of technical academic journal papers. This is now something that I edit a lot of, and feel that I am good at, so I guess that helped quite a bit. Formal training I did a basic grammar course (Gpuss), read Barbara Horn’s Copy-editing book and did the exercises and also had access to Kate’s PTC course notes. All of this helped me quite a bit, but was not as helpful as seeing some of Kate’s work (with her clients’ permission, of course) and asking her 'why?' all the time, not to mention Kate checking my first few projects before they were returned to clients. Training on the job My editing and proofreading experience is 60% of the pie for me. Learning on the job was what helped me most and, to begin with, it was a case of working for mates’ rates to get experience. It also helped me to start off by working on, dare I say, badly written non-native English documents. The end product would be unrecognizably better, even if some of the finer points were not 100%. Then I kept looking for ways to learn and improve. Editing for an agency helped because, particularly when I first started, their quality control editors reviewed and critiqued my work. This was great because they showed me where I had missed something and made helpful suggestions. They also gave me positive feedback when the quality controllers were happy and now don’t seem to check my work much at all. Summary Hopefully I have given a bit of an insight into what it was like for me transitioning from an engineering specialist to a proofreader/copy-editor and how my specialism has helped me to make that transition. I’ll attempt to leave with some wisdom from my experiences of making the transition:
Peter Haigh is a professional proofreader and copy-editor and a Chartered Engineer. He specializes in improving technical, scientific and numerical documents.
Visit his business website at Technical Editorial or connect on LinkedIn or Facebook.
Developmental editing, line editing, copyediting, proofreading ... what on earth is the difference and what's best for you when self-publishing?
This post featured in Joel Friedlander's Carnival of the Indies #79
A potted guide to the different levels of editing ...
If you’re a beginner writer and you’re planning to self-publish, you’ll be thinking about getting your book fit for market. Some of you might not realize that there are different levels of editing. And even if you do, you might be fuzzy about what distinguishes each service or what it’s usually called. No shame in that, believe me – even among professional publishers and independent editors the terminology differs. Consensus be damned! The irony that this lack of clarity and consistency exists in a profession that prides itself on, well, clarity and consistency isn’t lost on me or my colleagues! In an effort to untangle the issue, I’m offering you a potted guide to the different levels of editing – what each one deals with, what you might expect it to be called, and the questions to ask when you’re sourcing editorial help. At the bottom of the article is a PDF that you can download to your preferred device and refer to whenever you want. The basics Think of the editorial process like a play with several acts: writing, drafting, sourcing feedback from beta readers, self-editing, developmental editing or manuscript evaluation, line editing, copyediting, proofreading, publishing. The elements in bold are what we’re focusing on today. In a nutshell Basically, there are two levels of work going on – the macro and the micro.
What terms should you use when sourcing editorial help? There’s a question! My advice is that you explain what you want rather than worrying too much about what it’s called. This is because different editors define their services in different ways. Here are some examples:
Sorting out what you need
So, that’s it for now. I hope you’ve found this discussion of the different levels of editing useful. If there are particular questions that you want clarification on, drop me a line and I’ll do my best to answer them. As promised, here’s your potted guide! Just click on the image to download it to your device. 
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly.
I’ve worked with many independent authors. Some are experienced, some are developing, and some are absolute beginners. If you're in the early stages of your self-publishing journey, you'll probably welcome any help you can get.
In this article I'll summarize the problems I most often come across in beginner writing, especially in novels, so that you can raise your game and lift your writing to the next level more quickly.
Also, paying attention to these issues at draft stage will reduce your third-party editing costs further down the line. Don't forget to claim your free copy of my Guidelines for New Authors booklet, which includes this article and a wealth of additional information for beginner writers. You can find the link at the bottom of this post! 1. Rushing to publish rather than hushing to polish Some new authors are so desperate to publish that they omit the drafting stage. Hush time means putting the book aside for a while and revisiting and self-editing with fresh eyes. If you don’t go through the drafting stage, you’re less likely to spot problems with plot, pace, readability and repetition. And that means your book will not be ready for the later stages of editing like copy-editing and proofreading. Editor and writing coach Lisa Poisso has some excellent advice on managing the drafting process strategically: How to revise the early drafts of your novel. 2. Overwriting Too much detail Some beginner writers don’t trust their readers to fill in the gaps. This results in writing that gives too much detail. The narrative becomes laboured, boring even. There are some excellent examples in Christina Delay’s 5 Steps to Avoid Overwriting (Jami Gold blog); it’s what Gold calls ‘giving too much stage direction’: Imagine if an author described a character traveling from a store to their home by listing every single action: ‘She inserted the key into the ignition. Turned the key. Waited for the engine to engage. Slipped the engine into reverse. Expertly maneuvered the car out of its parking spot …’ Gold recommends getting straight to the point – unless, of course, something important happens in the detail that’s key to moving the story forward. If it’s just detail that mimics the mundanity of real life, strip it out. Repetition Watch out for repetition, especially ‘wow’ words. If Jo thunders down the hallway, her face like thunder, you have a problem. If the reader is told that Mike is ‘in agony’ and ‘agonized’ several times in one paragraph, trim the fat (and think of some synonyms!). High-intensity scenes of fear, danger, desire or confusion are those most prone to repetition and over-explanation in beginner writing, usually because the author is worried that the reader might not understand what the character’s experiencing. Gold calls these ‘emotionally overwrought passages of purple prose’. When drafting, consider creating a list that features key moments of disclosure and emotion/response. By mapping these moments, you can see whether the descriptions lie in close proximity to each other, and whether you’ve already provided enough detail earlier in the book. Then you can cut accordingly. Less is more. Telling twice Telling twice is another consequence of not trusting the reader to fill in the gaps.
3. Logic flop Logic flop happens when writers try to avoid conjunctions (probably because they’ve been told that conjunctions are boring and shouldn’t be overused). This can lead to grammatical hiccups that disfigure the writing and trip up the reader.
The second, edited version introduces a conjunction that brings logic and clarity to the sentence. Conjunctions are a perfectly natural way to join connecting action clauses that happen one after the other, and don’t need to be avoided simply on principle. Don't be afraid to embrace them! 4. Reluctance to use contractions The use of contractions isn’t always appropriate, particularly when the writer wants to introduce formality (e.g. in a historical setting or in academic non-fiction) or emphasis. However, in contemporary novel writing, the narrative can feel laboured if contractions are excluded, especially in dialogue. In real life, people don’t say things like ‘we are going’ and ‘I would have liked to’ so it’s often better to offer the contracted form. If in doubt, say the words out loud. If the likes of ‘we’re going’ and ‘I would’ve liked to’ sound more natural in the context of your book, then use contractions. Readers won’t notice if you do, but they might stumble if you don’t. 5. Overuse of exclamation marks Take care not to overuse exclamation marks. Too many can be distracting and overwhelm the text. Exclamation marks can detract from the gravity of a statement, making it sound upbeat when a different mood was intended – tension, fear, anger, danger. If you’ve used the right words to convey the mood, the exclamation mark will often be superfluous. If you do decide that an exclamation mark is necessary, don’t use more than one. Compare the following:
6. Speech tagging problems – sighing, smiling, laughing Arlene Prunkl’s ‘Dialogue in fiction’ series is my recommendation for independent authors who want free, detailed guidance on managing fiction dialogue effectively. Part III addresses speech tags (among other things), though the whole series is well worth reading. Beginner authors can be reluctant to overuse he said/she said constructions, even though they’re the most discreet way of tagging. Prunkl says, ‘Your job, as a newer writer, is to show emotion through the dialogue words themselves, not through the tags.’ She therefore recommends avoiding tags such as ‘hissed’, ‘sighed, ‘laughed’, etc. – not because they’re not good words but because they’re not words that describe the action of speaking. To hiss is to make a sharp sibilant sound; to sigh is to emit a deep, audible breath that expresses relief or sadness; to laugh is to express amusement through spontaneous sounds and movements of the face; to say is to utter words – and that’s why ‘said’ is an effective speech tag. Take a look at these examples; the bold versions are clean, effective examples of dialogue tags that won’t trip up the reader.
7. Formatting too early Focus on making your book look beautiful after the bulk of the editing has been done. Fancy fonts and heavily designed text are difficult to work with at editing stage. Furthermore, the layout might have to be reworked if there are major additions or deletions to the text during structural editing and copy-editing. Word’s styles palette is sufficient prior to the design stage. You (or your copy-editor) can introduce consistency to the different elements of the book (chapter titles, headings, quoted matter, main text, captions etc.) in a way that’s clear and simple. 8. Unrealistic expectations of what’s possible in one pass Some beginner writers think that one pass – a ‘final proofread’ carried out by a third-party professional – is enough to guarantee absolute perfection. It’s not. The mainstream publishing industry doesn’t believe it’s possible, and nor should the independent author. If you hire a professional to proofread or copy-edit your Word file, and that file has not been through previous rounds of extensive and meticulous editorial revision, there will likely be thousands of amendments – spelling, grammar, syntax and punctuation errors and inconsistencies; layout problems with regard to spacing and paragraph indentation; inconsistency with regard to character names and traits, and across word forms. Don’t expect your editor or proofreader to say, ‘I’ve made 8,000 revisions to your document, compiled 67 queries, spotted four problems with character-history consistency, noticed two character-surname changes, offered 200 suggestions for alternative wording, and I guarantee that, in spite of this, I have not missed one single literal or contextual error.’ Get as many fresh eyes on your work as you can afford. If budget’s an issue, that’s fine, but make sure your expectations reflect this. Good luck with the self-editing process! And as promised, here's your freebie! It includes lots of useful guidance and links for newbie writers. I hope you find it useful. Click on the picture to get your copy. 
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to visit Louise’s Writing Library to access my latest self-publishing resources, all of which are free and available instantly. How to work out what's a good or bad fee for the job One of the things new entrants to the field of editorial freelancing want to know is: What’s a good rate? 
Terms like good, high, fair, low, poor and predatory are problematic because they’re used by individual freelancers to reflect their own experiences and circumstances, which are often very different.
Rate talk can trip us up if we're not careful. And while it can be interesting to listen to colleagues’ opinions of whether a fee is low or high, their views might not be in any way useful for us because we need to make decisions based on our circumstances, not someone else’s. 
One of the first potential trip-ups occurs when the conversation takes place between colleagues from different countries. This issue is one of currency, particularly fluctuations in the exchange rate.
Proofreader A lives in Oxnard, CA, USA. She tells her colleagues in an online forum that she’s accepted an offer from an agency to proofread 4,000 words for US$25. The job is budgeted to take one hour. Some of her US colleagues say that the rate is unacceptably low; some even believe that she’s encouraging a race to the bottom by accepting such a fee from an organization whose rates are clearly unfair. Meanwhile, Proofreader B, who lives in Manchester, UK, is reading the forum thread.
Proofreader B needs to earn a minimum of £20 an hour to meet her needs.
Conversations that include blanket terms such as high and low therefore don’t help Proofreader B. Because the exchange rate fluctuates, so do her perceptions of whether a price is good or bad. 
It’s not just currency fluctuations that affect our perceptions of good, high, fair, low, poor and predatory in relation to editorial rates. Circumstances muddy the waters too.
Proofreader C lives in Belfast, Northern Ireland. She tells her colleagues in an online forum that she’s accepted an offer from an agency to proofread 4,000 words for £16. The job is budgeted to take one hour. Some of her colleagues say that the rate is unacceptably low; some even believe that she’s encouraging a race to the bottom by accepting such a fee from an organization whose rates are clearly unfair. Meanwhile, Proofreader D, who lives just down the road from C, is reading the forum thread.
Proofreader E lives to the west in Strabane.
Proofreader F lives next door to E.
So, conversations that include blanket terms such as high and low don’t help Proofreaders D, E and F either because although they’re all operating within the same geographical region and the same currency market, their circumstances are all very different. Deciding what rate works for you If you want to work out whether Agency X, Publisher Y or Packager Z’s rates are acceptable, you need to know what good, high, fair, low, poor and predatory mean to you based on your situation – not anyone else’s. The same thing applies to deciding what price to set with clients who come directly to you. Consider the following:
That data – as it applies to you, not your colleagues – will give you a useful initial benchmark with which to evaluate whether a fee is low or high. Your colleagues’ opinions are interesting but your colleagues are not responsible for running your business or your home, so their opinions should not be used to determine whether you accept or decline work at a given price. *** While I don’t believe that colleagues should be the sole determiners of the fees we accept or offer, I do think they’re the go-to people for many, many more types of information. See this post on the value of networking – both online and offline.
Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, you might like to join Louise’s Writing Library. Members receive monthly updates featuring self-publishing news and resources. |
SEARCH THE BLOG
I write quirky flash fiction too! Click on the book jacket above to read my free debut collection of 9 stories.
Dare Rogers'Louise uses her expertise to hone a story until it's razor sharp, while still allowing the author’s voice to remain dominant.'Jeff Carson'I wholeheartedly recommend her services ... Just don’t hire her when I need her.'J B Turner'Sincere thanks for a beautiful and elegant piece of work. First class.'Ayshe Gemedzhy'What makes her stand out and shine is her ability to immerse herself in your story.'Online courses to make you visible
  
Finalist: UK Blog Awards (Arts & Culture category)
Categories
All
Archives
October 2018
All text on this blog, The Parlour, and on the other pages of this website (unless indicated otherwise) is in copyright © 2011–18 Louise Harnby. Please do not copy or reproduce any of the content, in whole or part, in any form, unless you ask first.
|
|
|
|
|
|
|
Privacy policy | Terms and conditions | Code of practice | Portfolio | Qualifications | Order form | Self-publishing resources | Editor resources | Testimonials | Bio page | Tel: 07767 028976 | © Louise Harnby 2011/18