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Editing in a bilingual environment: opportunities and challenges

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

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.


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What skills are in demand in publishing today?

Atwood Tate has been helping to place skilled employees in the publishing industry for over nine years now. Between us, we have decades of publishing and recruitment experience. I left publishing and joined Atwood Tate in October 2010 and, broadly speaking, the core skills that we are looking for in candidates haven’t changed. Editors still need to have strong attention to detail; commissioning and acquisition editors continue to require a commercial eye and great interpersonal skills; sales people still need to be target driven and in possession of excellent relationship-building techniques; book production processes continue to evolve, but production professionals remain strong project managers and process oriented.

Over the past nine years and more, the industry has grappled with digitisation of content and processes. Five years ago, we saw a spike in the demand for XML and HTML skills in production and digital editorial roles, and an increased demand for analytical skills and people able to interpret marketing and sales data. Sales roles in certain sectors also began to change and there was increased demand for sales people, who had experience of selling services (notably Software as a Service). These requirements are no longer a “new trend” and tasks relating to digital production or digital content are embedded within most roles.

More recently, we have noted an increased focus on product management skills. Publishers have understood that commissioning for digital products often requires a different approach to traditional commissioning, and there has been a rise in the need for digital product management experience: analytical skills and a customer- or user-focussed approach are key. 

On the sales and marketing side, there is increased focus on discoverability and meta-data management, particularly in more junior roles, where hands on skills are highly sought after. Pricing analysis and business analysis expertise are increasingly in demand and not always available from within the industry, so those are areas to which finance or commercially oriented publishing professionals could look for inspiration if they are looking for development opportunities.

Specific job roles aside, soft skills are very much in demand and all interviews now tend to be competency based. Our clients are looking for adaptable, resilient and driven creative thinkers, who are willing to learn and collaborate in a faster changing business environment.


Helen Speedy


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How to be a successful publishing freelancer – in eight steps

Freelancing is a major life decision – it’s challenging, demanding and requires a dash of courage. How can you flourish as a self-employed individual in the publishing industry?

On 17 January 2024 the Publishing Training Centre (PTC) hosted an online seminar in collaboration with the Society of Young Publishers (SYP) Wales to answer this question. Our expert panel shared their practical insights and advice on how to succeed as a freelancer in publishing.

These eight steps below are what they suggested for freelance success.

1. Freelancing – is it for me?

Imagine a career flexible enough to fit around family life, a professional life where you are in charge. It was this quest for a realistic work−life balance that drew all four panellists into freelancing, offering the freedom to work from home, choose your own projects and set your working hours.

“Anyone can become a freelancer, at any point in their career – if you have the skills that publishers want to buy,” explains Petra Green, Head of the PTC. “To succeed as a freelancer, you need to be organised, self-motivated, disciplined and able to work on your own.”

It can be challenging, with feelings of isolation and income fluctuations. If you thrive on self-motivation, freelancing as a copy-editor, proofreader, or in marketing and publicity, could be right for you.

2. Gain the necessary skills, experience and qualifications

In-house experience is not essential, but it helps. You can gather a wealth of insights and knowledge, particularly in a specific subject area. As Alysoun Owen, freelance publishing consultant and owner of AO Consulting Ltd advised, “You need a track record and one job to get going. When leaving an employer, try to take at least one commission or contact with you.” Gain as much training and experience and as many qualifications as possible before leaving employment.

3. Be clear about what you can offer

Identify what services and expertise you can offer. When Alysoun became a sole trader, she chose to advise on digital, bridging the gap between publishing creatives and technical professionals. By focusing on a specific area, she gained invaluable experience from working with diverse individuals and businesses.

4. Agree a realistic fee

When taking on any project, assess whether you are qualified (or want) to do the work, and that it fits comfortably in your schedule to meet the deadline. Know when to say yes, and when to say no. Price your services realistically. Will you charge a fixed fee or hourly rate? Ensure the client brief is clear and that you understand exactly what is expected of you – the type of publication, word count, inclusion of illustrations and your role in the process, will all influence your charges.

5. Communicate effectively and honestly

“Effective communication is at the heart of successful freelancing. You are only as good as your last job,” explained Caro Drake, a freelance editor with over 30 years’ experience. “Always follow the brief, check and recheck.” Communicate openly and honestly and apologise if necessary. Be courteous, friendly and professional at all times. And pick up the phone – it’s more personal than email. By nurturing relationships, through impeccable customer service, you are paving the way for repeat work and other opportunities.

6. Take charge of your finances

“Financial planning is key to achieving a sense of stability and success,” says Heather Rawlin, owner of Future Perfect and a freelancer since 2015. “Fluctuations are common – you may experience busy, slow, affluent and poverty-stricken months. Look for regular work – even if these jobs are just small, their reliability is a comfort.”

There is no paid holiday or sick leave, and you need to buy your own equipment. You’re on your own when it comes to managing your own finances – including invoicing and tax returns.

7. Build the business basics

Adopt an entrepreneurial mindset and create a long-term plan. Consider if being a sole trader or limited company is best for you – each has its pros and cons. You’ll need a business name, a LinkedIn profile, and perhaps a website, to get started. Building a strong online presence is essential. There are plenty of resources available to help guide you through the process.

8. Expand your contacts and ensure clients return for more

Freelancing is all about who you know. Before leaving employment, share your CV with colleagues. Then announce your exciting new venture to your network (after you’ve left!) and target publishers aligned with your field of expertise. As Heather says, “Recommendations are crucial for freelances – more than 50% of my work came from referrals from current clients.” Maintain your edge with ongoing training and attending industry events and webinars. Affiliation with relevant societies and professional bodies and societies will enhance your credibility.

Actively market your services and pursue new opportunities. Remember, persistence is key – even on tough days, keep your head up and an open mind.


Cassie Chadderton

Gill Box-Grainger is Marketing Manager for the Publishing Training Centre.


If you are interested in becoming a freelancer within the publishing industry, have a look at these useful links for working as a freelancer, recommended by the panel. For more information about the SYP, visit www.thesyp.org.uk.


Read more: How to be a successful publishing freelancer – in eight steps

Project management is at the heart of the publishing process

Job titles across the publishing industry are notoriously inconsistent. In my department the desk editors/project editors—the people who turn what an author has written into a published product—are called Project Managers, because project management is what they do. When we recruit, the ability of a candidate to keep multiple projects, all at different stages of production, on schedule and within budget, is just as important as the eye for detail, the editorial sensibility.

Yes, spelling, consistency and clear use of language matter, but they are of little use if the project never gets published. An editor not only has to assess and create accurate budgets and schedules, but also to liaise with all the other parties involved in the project: authors, commissioning editors, designers, photo researchers, artists, typesetters, marketing executives, sales reps…. And these skills do not just apply to in-house editors — fluctuating levels of work in line with market needs mean that much project management work is outsourced to freelance editors and packagers.

One reason why the project management skills of the editor are more important today than ever is that publishing, particularly in education and academic fields, is not only about books. Almost none of the projects we work on today is 'just' a book. The most straightforward publication will have a print and an e-book version, many books have linked online resources, and an increasing number of projects are multi-component, with interrelated print materials alongside digital products containing hundreds of resources in different formats, from Word files to video. Then there is the marketing material—the samples for social media, the database that feeds information to Amazon, the advance chapter and cover.

Keeping control of each of these elements requires enormous organisational ability and forward thinking, use of tracking and budgeting systems which work, plus flexibility and resourcefulness.

In other words, all the skills of project management.

Courses to improve your project management skills in publishing

The PTC offers four virtual courses to build your project management skills:

Introduction to Digital Project Management breaks down each stage of a digital project, from planning to delivery to your end-user. This course is ideal for those new to managing digital projects.

Advanced Digital Project Management takes a more in-depth look at defining a digital project – including drawing-up tender documents, sourcing potential suppliers and creating realistic budgets, schedules and deliverables.

Editorial Project Management is designed to show editors how to deliver their editorial projects on time and on budget.

Introduction to Project Management is for anyone working in non-editorial publishing roles who have to manage projects. Whether you are tasked with organising an event, updating a website, or launching a new app, it will give you the confidence to be a good project manager.

See all project management courses here.


Jane Buekett


Find out more about the PTC's Editorial Project Management course.


Read more: Project management is at the heart of the publishing process