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Category: Copy-editing and proofreading

Accessible publishing

Guy van der Kolk first got hooked on publishing while attending an international school in Ivory Coast, where he used Pagemaker, Photoshop and an Apple Quicktake 100 camera to help create the yearbook. After many hours of hard work, while holding the final printed product, he knew this was an industry he wanted to be a part of.  Guy is now Senior Solutions Consultant for Typefi, he has spent the last 15 years training thousands of people to get the most out of their software.

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I spend a lot of my time editing non-fiction; no matter how much I love fiction, the factual stuff takes up more of my time at the moment. And with factual editing comes fact checking.

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For the trained eyes, there is nothing more annoying than looking at a book which is just one letter away from perfect. It is possible that you have made a capital mistake when not checking the rules of capitalization before publishing. It can be a tricky business, but nothing you cannot master by following a set of simple rules. In this article, we are writing about right capitalization and punctuation of titles (of your own books) on the cover and on the title page, with special regard to consistency.

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There’s a lot of talk among editors and wordy wordsmiths about using macros to help efficiency when you’re working. Truth be told, macros can be scary and take a bit of getting used to.

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In Part 1: An industry of opportunitySophie Playle explored who self-publishes, why and how self-publishing has developed over the years, and what this means for editorial freelances. In this post, she’ll be looking at the more practical elements of working with self-publishing authors.

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It’s that time of the year – at least in the UK – when the spring flowers are out, the birds are singing, there’s a fleeting glimmer of sunshine … and it’s the end of a tax year (or the start of a new one, depending on how you choose to look at it). Perhaps it’s time to tidy the desk, chuck out a few reams of paper and dust down the elevator pitch.

There’s much to recommend being able to tell people what you do in a way they can understand. Let’s face it – it can be an uphill struggle when it comes to justifying our existence. No, we don’t just check for spelling mistakes. And no, Word’s spellcheck function is definitely no substitute for the real thing. Yes, we might love words, but passion doesn’t pay the bills. Sure, an edit is not usually a life-or-death situation, although ‘mere’ typos can do serious damage to reputations and lives – and the work medical editors do, for example, carries a particular weight of responsibility. Good communication in any sector is vital, so there is genuine importance attached to our job, and it takes skill and experience to do it well.

An elevator pitch is typically a short and simple summary of your business offering, using language that anyone can understand. It says who you are, what you do and what you can offer a potential client. A good example will tell a story in miniature, rather than comprise a blurted-out list of bullet points. You need to captivate your listener – and you haven’t got long to do it; perhaps 30 seconds. (The tallest lift in my town only goes up one floor, so I’d have to be especially concise.)

If you’re trying to communicate your worth to so-called non-publishers, you might need to strip things right back to the basics; you could even use an analogy. About a year ago I wrote a description on my website likening the work of an editor to the craft of a sash window renovator. (It only occurred to me afterwards that I should have struck some kind of reciprocal deal with the window restorers, asking them to compare their work to that of a professional editor.) The point is, it can help to explain what we do if we make it more tangible.

Publishers may be easier – they already understand the difference between copy-editing and proofreading, for instance, and they know why they need us. But all publishers are different, and you may still need a very focused approach to make that particular publisher understand why they should hire you, and not the other twenty editors who have also cold-called them that month. What areas do you specialise in? What specific skills and qualifications do you have?

To write your elevator pitch, try putting everything down on paper (or screen) first – everything that differentiates you and your business. Stick to the positives – describe what you can do, not what you can’t. Then, when you have your description, do what you do best – edit it. Cut out all the extraneous material until you’re left with the pure message that you want to convey. Take your time. Tell that story. Nail it.

Now you have your perfect pitch, what can you do with it? One thing you could do is learn it by heart, and then take yourself off to some local networking events (or even an SfEP local group meeting) and actually use it. You might discover that you enjoy the process, and you could even pick up a new client or two. (Remember, contacts you make may not lead to immediate work; it’s often about the long game.)

However, the real beauty of this is that you don’t have to actually deliver the elevator pitch for it to be of real benefit. You’ve just spent quality time focusing on the positives of who you are and what you do. See how you’ve distilled the essence of your business so you understand exactly what you offer and why it’s worth something to others? Now you can use this knowledge of what makes your business brilliant (what I like to think of as your secret elevator pitch) to inform the way you sell it to others, in whatever way you choose.

Do you have an elevator pitch? Has it helped you market your business?

Liz Jones has been an editor since 1998, and full-time freelance since 2008; she is an Advanced Professional Member of the SfEP. She specialises in trade non-fiction, fiction and educational publishing, but also works with a range of business clients and individuals.

Liz’s post was originally published on the SfEP blog.

The Society for Editors and Proofreaders (SfEP) is a professional organisation based in the UK for editors and proofreaders – the people who make text accurate and clear. Formed in November 1988, the SfEP has more than 2,000 members who provide editorial services to publishers and a wide range of other organisations and individuals. The SfEP promotes high editorial standards and works to uphold the professional status of editors and proofreaders. Its Directory of Editorial Services provides contact information for experienced SfEP members, including details of the skills, subjects and services they offer.

Track Changes

It’s 10:00 p.m. Do you know where your manuscript is?

It’s like being trapped in a replay loop of the old TV public service announcement reminding parents the kids should be home for the evening, safe and sound—only this time, it’s your manuscript you’re worried about. You sent your baby to the editor a week ago, and you haven’t heard a word since then.

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I need an editor … you’ll be rewarded

I need an editor … you’ll get great exposure

I need an editor … fast

I need an editor … I don’t mind paying

I need an editor … willing to pay

I need an editor … for free

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It is a truth universally acknowledged that book editors spend their days languidly leafing through the pages of books and occasionally waving a red pen in the vague direction of a stray comma or unruly capital… Or so I’ve been told – on numerous occasions. But never by the lucky ones who get to toil day-in day-out at the coalface of editing, diligently chipping away at a manuscript, carefully polishing it until it shines and looks its best. Funnily enough, they tell a different story. Don’t get me wrong: it’s an honour and a privilege to be involved in the creation of something so precious, but it’s a job that comes with some difficulties and pitfalls. So, take a seat, get comfy and let me tell you some of them…

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Oh, no … You didn’t just ask your spouse, your mom, or your best friend to read your book and tell you what they think, did you? Every author needs test readers—impartial, unbiased test readers. As much as your squad may want to help, beta reading is one area where friends and family don’t qualify.

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While the details of any book are important to get right, books about personal or sensitive topics require an extra level of attention to ensure inclusivity and correctness.

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We’re in the business of saying yes … but just as important can be knowing when to say no – some projects may just be more trouble than they are worth. Here are some warning signs to look out for.

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The self-publishing boom has happened and it’s here to stay. Options are increasing for writers choosing to take ownership of the publication of their books, and so are opportunities for editors.

Who self-publishes?

Many self-publishers are writers who have not managed to seduce the necessary gatekeepers stationed along the traditional publishing route – not necessarily because their writing is not of publishable quality, but because the publishers don’t believe in their potential to make money in the market. Fair enough – publishers are businesses, after all.

Now, though, writers can choose to take their own risks.

Many writers decide to self-publish simply for the freedom of it all. Some even decide to leave their publishing houses and go it alone because they see it as the better option. (Hello, 70% royalty …)

Rising quality, rising numbers

No longer seen as a practice in vanity, many self-publishers are now fully aware of the challenges they face, and how best to overcome these challenges. As a result, there is a new breed of independent (indie) authors: they are both literary creatives and publishing entrepreneurs.

Did you know …?

  • Self-published books’ share of the UK market grew by 79 per cent in 2013*
  • 18m self-published books were bought by UK readers last year, worth £59m*
  • The Big Five traditional publishers now account for only 16 per cent of the e-books on Amazon’s bestseller lists**

* The Guardian, ‘Self-publishing boom lifts sales by 79% in a year’, Jun 2014
** Author Earnings report, Jul 2014

According to an article posted on Publishing Perspectives (Oct, 2014), literary agent Andrew Lownie believes that in 5–10 years, 75 per cent of books will be self-published, 20 per cent assisted by agents, and only 5 per cent traditionally published. Whether he’s right or wrong is another matter, but it just goes to show how much of an impact the independent author is having on the publishing world.

A wealth of resources

Technology is the catalyst for these opportunities. The e-book format and print-on-demand (POD) services like Smashwords and Lulu provide affordable production. Companies like Amazon, Apple and Barnes & Noble provide the marketplaces. Every service in between, from editing to cover design, can be found online, and through new marketplace websites, too, such as Reedsy.

And with the Internet, indie authors have a wealth of information at their fingertips. Not sure how to get your book on the shelves at Waterstones? Or perhaps not sure whether you need to buy an ISBN (or that you know what to do with it)? Never fear, Google is here.

A digital revolution

The Internet is a big deal. I mean, it’s a serious game-changer – in so many ways, but especially for the publishing industry. (Truth be told, I don’t think traditional publishing houses have quite caught up yet.)

At the click of a button, people can access the specific information, entertainment or inspiration they’re looking for. This means that businesses no longer have to go hunting for punters in the old, traditional ways (posters, flyers, radio adverts), because those clients are actively seeking them out.

Instead of a scattergun approach to marketing (least effective), businesses can use targeted pull-marketing (most effective).

What does this mean for the independent author? Well, instead of spending all their time writing alone in their studies, they are now able to connect to their readerships online – through social media, blogs and websites.

Remember the publishing house that was concerned there wasn’t a market for that book? Doesn’t matter, because the indie writer can build their readership from the ground up. That’s the power of the Internet.

What does this mean for editors?

In a word: opportunity.

Self-publishers used to have a bad name. Some still do – but it’s no longer a sweeping generalisation. In the end, poor-quality books will sink and good-quality books will rise. Indie authors are cottoning on to that – and they understand they need to invest in their own quality control.

That’s where we come in.

Sophie Playle, of Liminal Pages, is a freelance editor who specialises in fiction and often works directly with writers. For brownie points, connect with her on Twitter and LinkedIn. (Please note: No real brownies or points will be awarded.)

Sophie’s post was originally published on the SfEP blog.

The Society for Editors and Proofreaders (SfEP) is a professional organisation based in the UK for editors and proofreaders – the people who make text accurate and clear. Formed in November 1988, the SfEP has more than 2,000 members who provide editorial services to publishers and a wide range of other organisations and individuals. The SfEP promotes high editorial standards and works to uphold the professional status of editors and proofreaders. Its Directory of Editorial Services provides contact information for experienced SfEP members, including details of the skills, subjects and services they offer.

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