20 June 2024

Editor or project manager?

The job titles will vary – you may come across desk editors, production editors, project editors, editorial managers and/or managing editors – but project management is at the heart of what most editors do. They will possess excellent editorial skills, but their expert eye for detail will also be useful for overseeing multiple projects, ensuring that schedules are kept on track and within budget. Liaising with the author (or sometimes multiple authors), commissioning editor, designer and production controller will be key, although editors may also need to work with illustrators, typesetters, photo researchers and sales, marketing, publicity and rights teams.

For editors, there is usually the e-book edition to consider, and sometimes the audiobook too. Especially in education and academic publishing, the print title could be accompanied by online resources, such as quizzes, worksheets and audio-visual resources. Plus, there’s the online side: databases that feed online retailers, sample chapters, covers for websites, and as promotional materials for social media. Depending on the company, one project manager might need to oversee all this, or these aspects will be looked after by different people, who might be freelance or in-house. Either way, there are a lot of moving parts to consider, even with just a single publication!

Why project management is important

For my role as fiction managing editor for a trade publisher, strong project-management skills are essential. I have around 100 books within my remit, and I’m responsible for ensuring that they are scheduled, copy-editors and proofreaders are booked, and corrections are checked, liaising with authors as appropriate. I meet our editors regularly to confirm that manuscripts are on track for copy-editing, and I sometimes need to revise schedules. For example, an author might need more time for rewrites; we need a bound proof for an event; or the copy-edited manuscript has to be ready for a foreign publisher by a particular date.

Project management isn’t just about dealing with issues here and now; it’s important to think ahead and imagine any future problems should a schedule change. Some things to consider are whether that impacts the editor’s workload; the author’s time, especially if, for example, they are expected to edit book 2 at the same time as promoting book 1; or the copy-editor and/or proofreader’s time, because they might not be able to accommodate a late project due to prior commitments.

Schedules and spreadsheets aren't everyone's cup of tea. However, schedules are essential for meeting important deadlines, while spreadsheets are handy for keeping numerous tasks or books on track. Embrace these tools and you will be a more effective project manager.

For me, a spreadsheet is invaluable. I record all schedules (as well as details such as the names of the author/copy-editor/proofreader and the print deadline) in a single shared grid, which the editors can also access. I can filter by each editor’s name so that we can focus on their titles in our catch-ups, but I can also see all the schedules at a glance in my weekly catch-up with the publisher.

I also witness good project management within other departments too. Here are some examples:

• The rights team need to liaise with editorial teams to gather materials to take to book fairs. They then have to gather sample chapters and manuscripts to share afterwards.
• The marketing team need to liaise with various editorial teams to agree on titles to submit to The Bookseller’s September Children’s Previews, and then co-ordinate with the editors, designers and myself to collate the material.
• The in-house designer has to liaise with multiple illustrators, ensuring that the cover, art briefs, rough art and final art are briefed and delivered on time. In some cases, they might need to work with the illustrators to create a staggered schedule for artwork delivery, and ensure that layouts are ready for samplers and book fairs.

Even in my capacity as a freelance copy-editor, project-management skills are essential to manage my own workload, especially when schedules slip.

Whatever your role in the publishing process, it's incredibly useful to be aware of the project-management skills required to keep things moving, whether it's the bigger picture or how your particular role fits within the process.

If you love a spreadsheet and being organised, you just might love project management. But what if you don't? Give it a go – it's always worth building up your transferable skills!

Wendy Shakespeare is a Managing Editor for Scholastic UK and a freelance editor and consultant. You can connect with her on LinkedIn.

The PTC runs a number of open courses on project management for those working in digital, editorial and other areas. The e-learning module Essential editorial project management takes you through the process of managing a publication from start to finish.

23 April 2024

Are you thinking about becoming a proofreader? Perhaps you’re a career-changer looking for inspiration, or you’re already a proofreader but lack formal training. Whatever your starting point, here’s some guidance on the next steps that you can expect to take.

The role of the proofreader

The proofreader gets involved in the final stage of the editorial process, before publication. In book publishing, the publisher sends the author’s typescript (raw manuscript) to the copy-editor, who checks and corrects it. They ensure that it’s consistent, readable, free from errors and correctly formatted, among other things.

When this stage is completed, the typescript is typeset (into its final layout) and sent to the proofreader who checks that the copy-editor’s instructions were followed (e.g., pages are numbered correctly).

The role of the proofreader is important in acting as a second pair of eyes, catching any missed editorial errors (e.g., grammar and spelling). They will also check the typesetter’s work, and fix any errors in fonts, styles and layout, for example, before final production.

What qualities do you need to be proofreader?

A love of reading helps, but this is a nice-to-have. To be a successful proofreader, you need:

• the ability to concentrate
• excellent interpersonal skills, to build positive relationships with colleagues and clients
• a good grasp of the English language, grammar and punctuation
• well-rounded general knowledge
• an eye for detail.

Other qualities include a willingness to learn, adaptability, curiosity, perseverance and patience.

Why training matters

As with other careers, proofreading takes time to master. Training is important because it shows that you’re serious about becoming a professional proofreader.

Gaining an industry-recognised qualification can give you confidence in your abilities, help improve your professional credibility and build trust. This is important, particularly if you’re a career-changer. Potential clients need reassurance that you’re competent, that you have the basic skills and also expertise in the field.

Each proofread is an opportunity to broaden your knowledge and sharpen your skills. So not only does initial training matter, but continuing professional development is important too.

The PTC’s bestselling Essential Proofreading course is ideal for learning the skills and knowledge required to proofread effectively.

The type of proofreading work available

Mention the word ‘proofreading’ and traditional publishing houses come to mind. The reality is that publishers hire trained, experienced proofreaders. The good news is that there is a wealth of proofreading opportunities outside traditional publishing, so it’s worth approaching:

• local businesses
• organisations with a publishing/marketing function
• charities and professional organisations
• self-publishing authors
• family and friends

You’ll find an array of documents that require proofreading, including theses and dissertations, websites, annual and business reports, and marketing materials.

Where to get answers if you have a proofreading question

It’s fine if you don’t know the answer to queries in the text that you’re proofing. You aren’t expected to know everything – no one does! What’s important is that you know where to find the answer. Depending on your question, the information might be found in the client’s house style guide, or in other reference materials (e.g., the style guides New Hart’s Rules for British English, or The Chicago Manual of Style for American English). Or, you could contact the client with a query that’s specific to them.

The Chartered Institute of Editing and Proofreading is a membership organisation for editorial professionals. It offers access to benefits including a members’ forum, where you can post questions and all aspects of proofreading (and editing) are discussed.

Getting proofreading experience

Start by telling family, friends, and people you work with (past and present) about your proofreading plans. They may know someone who could benefit from your skills.

You could also consider the following:

• ask your current employer about proofreading opportunities
• volunteer for a charity or other organisation producing print or digital content
• mentoring (your current employer may offer opportunities)
• internship with a publishing house (many publishers advertise on their websites and on social media)
• paid work with a publishing house (advertised on publishers’ websites and social media, The Bookseller, recruitment agencies, job boards; freelancers could try cold emailing publishers).

Before contacting potential clients, you need to think about how to market yourself, which could mean updating your CV and highlighting relevant skills and training. Research potential clients and market yourself to your ideal client, making sure you have the proofreading skills and knowledge they want.

Keeping the work coming in

If a client is happy with your work, don’t be shy about asking for a testimonial, which you can use to gain more experience.

It takes time to become established and visible as a proofreader. Here are some activities to keep the momentum going:

• update your CV, website and portfolio regularly
• promote your proofreading service
• network with other proofreaders (online or in person)
• hone your skills and knowledge.

Tania Charles is a freelance proofreader specialising in fiction and narrative non-fiction. She is also a tutor for the PTC’s Essential Proofreading course. Follow her on LinkedIn.

To find out more about the role of the proofreader, download your free copy of the PTC’s guide to Copy-editing and Proofreading.

Discover if a career in proofreading is for you, with the PTC’s e-learning module An introduction to proofreading.

23 May 2024

I think of myself as an accidental editor. It was never part of my grand plan to work in publishing. However, like many parents, once I had children and could enjoy magical times reading with them, I thought I’d try writing for young readers. Several rejections later, I began to work with a small publisher and was commissioned to write picture books for the pre-school age group, and stories and resources for 7-to-11-year-olds. This became the unwitting gateway to my editorial career.

At first, I took on small proofreading jobs from my publisher on a freelance basis. Through research into how to find editorial work, I discovered Louise Harnby. Her book, Marketing Your Editing and Proofreading Business, became my springboard into the publishing profession. I took the Publishing Training Centre (PTC)’s course (then called ‘Basic Proofreading’ and now ‘Essential Proofreading’), and made the leap.

(By the way, if you plan to follow suit, don’t let the course titles fool you. The training is anything but ‘basic’. It’s in-depth, rigorous and tough, but is all the more excellent for that.)

The craft of editing children’s books

I see editing as a craft. Copy-editing is not just about implementing grammatical rules. For me, it’s about ‘hearing’ the text; listening to its rhythm. The action taking place can be reflected in the way the words describe that action. Short, sharp sentences help to convey suspense, for instance. They work to increase the pace of a story. A variety of sentence lengths also adds interest for the reader. Without shorter sentences to balance longer ones, the experience of reading a book can become monotonous.

Because I’d been writing for children, specialising in editing children’s books seemed a natural progression. For this, as with editing generally, I believe you need a good ear. I could never edit in a room with anyone else because I read every sentence aloud. That’s the way I get a proper feel for how the book will sound to its readers. I find this invaluable, whatever genre I’m working in, and it’s something I advise authors to do with their own writing. When you hear the words, rather than just looking at them on the page or screen, you’re much more likely to pick up glitches.

This is especially true if you write or edit rhyming picture books. I’ve worked on many of these, and getting the rhythm right across the whole story is key to creating the best possible reader experience. It’s also the biggest challenge with this type of writing and brings us back to why, as an editor, you need a good ear – to be able to hear what’s working and what isn’t.

Children’s publishing also has its own parameters. Both authors and editors need to understand the requirements for the target age group. That may sound obvious – age appropriateness of material encompasses not just themes and storylines, but writing style, sentence length and vocabulary choices. Editing children’s books means appreciating the age suitability of all these elements and pointing out where they don’t quite fit.

Picture books require a fairly stringent editorial approach. A story has to be told in few words – 800 to 1,000 is the ideal in the UK. Every word has to count. If an adjective isn’t necessary, it can be cut. (Description is largely redundant in a picture book because the illustrations support the visual aspects of the story.) Adverbs can be replaced with verbs that describe the action. There are always ways to create succinctness of expression and greater fluidity. This is the craft of editing and it applies to any genre.

My top tip for aspiring children’s editors

For editors wanting to enter the world of children’s publishing, my biggest tip would be the same as it is for authors: read. Read as great a variety of children’s books for the different age groups as you can. Pay attention to the structure, the chosen themes and storylines, the vocabulary, the sentence length. When you’re steeped in the art of brilliant, targeted story-writing, those elements will be at the front of your mind as you edit; as you craft.

I’ve met and worked with the most fabulous people since I started my editorial business, and it’s expanded in ways I could never have dreamed of. I cohost The Pen to Published Podcast for self-publishing authors, with colleague and independent publisher Alexa Whitten. We also run an online Facebook group for writers, The Writers’ Refinery, which has grown into a lively, informative and supportive community.

For an accidental career, being an editor has turned into something surprising and special.

Alexa Tewkesbury is an award-winning author of numerous children’s books, as well as a freelance proofreader, copy-editor and copywriter. Follow her on X and LinkedIn.

If you are interested in a career in children’s books, download the PTC’s free guide to Children's Publishing.

21 March 2024

Canada has been a bilingual country since 1969; English and French are used by all federal institutions. In 1982, Queen Elizabeth II signed the Canadian Charter of Rights and Freedoms, which dedicates a category to Official Language Rights. Yet, depending on where you live in Canada, your linguistic experience can vary greatly as both languages are not used equally throughout the country. In Quebec, for instance, French is predominant, and many laws have been passed to protect the language. As such, certain companies cannot deliver products to this province because of Bill 96, an Act respecting French as the official and common language of Quebec. Then again, if you send a request in French to a government department in British Columbia (e.g., you search for the death certificate of a long-lost family member), you might receive a reply in English – even from federal institutions. New Brunswick is the only officially bilingual province in the country.

As one might expect, communication can be very frustrating for a unilingual individual in a bilingual country. There has always been a cultural and linguistic divide between Francophones and Anglophones in Canada as realities and points of view differ. This is also perceptible in the editorial world: why write in proper French when most of the population of the province you live in speaks English? Those who can speak “some” English will get the message anyway. Why bother with a properly written English document when most of the population in the province you live in speaks French? Surely they have a bilingual family member or friend who can assist them?

The opportunities for professional editors

For professional editors, this environment offers many opportunities. Because both languages are used in every province, in one context or another, there is a need to make sure communications are properly structured and written. There are editors like me who are fully bilingual and who choose to help bridge the gaps. Though I don’t offer editing services in English (French is my native language), I joined Editors Canada, an organisation with a national scope, to help promote the editorial services of our members from sea to sea – and beyond. As a freelancer, I am one of many editors and translators tasked with ensuring the final communication (e.g., a press release) is adequately written for a French-speaking audience. Members of Editors Canada who opt in to the Online Directory of Editors widen their exposure to potential clients: a Francophone editor in Quebec can be hired to edit the thesis of a student in Alberta, and an Anglophone editor in Ontario can collaborate with a museum in Nova Scotia on the documents pertaining to an upcoming exhibition, for example.

The challenges of editing in a bilingual environment

But there are also drawbacks to editing in a bilingual environment. In some countries, the government has adopted two (or more) official languages and yet only one of them benefits from the talents and services of professional editors. Or it may be that two or more languages are officially used to communicate with the population without regard for one of them, from an editorial point of view. They may ask a bilingual employee (or even worse: someone who knows some of that language) to translate the document just so they can say they offer it in both languages. Sadly, the result might end up as comic relief in a newspaper or a linguistic journal rather than being used to inform the intended audience. There’s also the need for local knowledge: for example, what is true in one version of French in Africa (e.g., to translate the word “package” as bouquet) might sound erroneous in Canada (where we would use forfait). Both are correct, but unless you confirm with a professional linguist in that locale, you won’t know that.

As a Francophone editor, I have the privilege of assisting my clients in making sure they use the language as accurately as possible. Sometimes, there is a disconnect between the intention and the creation of a text; French may be impacted by English because of the geo-linguistic reality of the province of Quebec. My linguistic skills and my passion for French allow me to guide authors (and translators) to achieve the best communication.

I wish for professional editors in all languages to be valued for their contributions to better communications and thus contribute to more positive relationships between authors and audiences and help create better-informed communities.

Suzanne Aubin is a freelance editor and translator in Quebec, Canada, and has been a member of Editors Canada since 2002.

She is director of member recruitment and retention on Editors Canada’s national board and shares the task of Francophone advisor. Follow her on LinkedIn.