Three years ago I was inspired to write my very first blog post after a trip to Tarragona in Spain. I’d attended the annual gathering of the Mediterranean Editors and Translators (MET) – the so-called MET Meeting (METM, pronounced ‘met-um’) – and this made me think about how international my work had become since I started freelancing.

This year, I decided it was time for a return visit. METM19 was in Split, Croatia, and I decided to combine the event with my annual holiday.

I spent a lovely few days acclimatising myself to Split and enjoying the wonderful weather. It’s a fascinating place with a beautiful seafront and plenty of historical interest (especially Diocletian’s Palace, which was built for the Roman emperor Diocletian in the fourth century AD and is now a maze of narrow streets full of homes, shops and restaurants).

​When it came to METM itself, my first activity was one of the ‘Off-METM’ lunches. These are small groups focused loosely on a theme (ours was ‘Feedback is a two-way street’), aimed at helping delegates to get to know one another before the conference itself. There were also various optional workshops that delegates could pre-book.

After lunch, we headed to the School of Medicine at the University of Split for the start of the official proceedings. To give you a flavour of the conference itself, I’ve briefly summarised the various sessions and presentations that I attended. Because MET is an organisation for both editors and translators, the programme featured some sessions that were relevant to one or other of these different professions, and some that were relevant to everyone.​

Content marketing is a hot topic for editors and proofreaders, and one that has featured on the programme at previous Society for Editors and Proofreaders (SfEP) conferences that I’ve attended. Translator Maeva Cifuentes explained the concept and illustrated the benefits using the results of the content marketing activities she has undertaken for a client. She stressed the need to take a strategic approach and to evaluate results regularly.

As well as a review of MET’s activities over the year, the General Assembly included an announcement of the venue for MET20: San Sebastián in the Basque Country. If the applause and the exclamations of delight were anything to go by, this was a very popular choice.

The chair invited questions and comments from the floor. One of these prompted a lively discussion on the need to consider the environmental impact of future events, including everything from travelling to METM to using plastic cups and conference swag bags. Plenty of food for thought.
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And speaking of food, the General Assembly was followed by a buffet lunch, at which we once again enjoyed soparnik (among other tasty dishes).

David Barick used real examples to highlight problems with different types of comparison – both between variables in the results of a single academic study and between the author’s findings and those in the literature (where the tense used will be particularly important in drawing a distinction between current and previous research). 

​In this comprehensive overview of what should be included in a quotation for a client, Jenny Zonneveld gave a detailed run-down of all the tasks involved at every stage of the process. She outlined the various factors to consider when preparing a quote, including the thorny issue of whether a fee per word, per hour or per project is appropriate.

Spanish clinician Jaume Canet has published many papers over several decades, and editor and translator Mary Ellen Kearns has provided editorial support for him throughout that time. In this presentation, Mary Ellen described the various stages of Jaume’s career, highlighting his prolific publication record and the types of support and input required over the years. 

The closing keynote of METM19 was given by linguist Lynne Murphy, author of The Prodigal Tongue. The book’s subtitle is ‘The love–hate relationship between British and American English’, and Lynne described some of the differences in the language on the two sides of the Atlantic. Relating these to the METM19 theme (‘Making it count: communicating with clarity and concision’), and specifically the concision aspect, she explained the process of ‘densification’, in which language becomes more informationally dense over time. I’d heard Lynne speak before (at the SfEP conference and at Leeds Literature Festival), so I was expecting this to be an interesting and entertaining session. I wasn’t disappointed! (I hope Lynne will permit that last piece of punctuation: she allows her students one exclamation mark per year, and advises them to use it wisely…)

​And with that, all that remained was for delegates to make their way to the closing dinner and afterparty. The four-course meal was served at a pace that could best be described as ‘leisurely’ (we were still waiting for dessert at 12.30am). I’m not sure whether this was a Croatian tradition, or whether catering for such a large group had proved challenging for the restaurant. Nevertheless, the food was tasty and I enjoyed the conversations over dinner, with Lynne Murphy on one side and Rebecca Warden from International Correspondents in Education (one of my main clients) on the other. The METM choir also entertained us with a couple of numbers.

Although the disco was just getting going as dessert was being served, I’m afraid I was ready to make my way back to my apartment as 1am approached.

I very much enjoyed my second METM and I hope it won’t be my last. The programme was interesting and varied, the people friendly and approachable, and the setting lovely. I met individuals from all over Europe and beyond, attended informative sessions given by presenters from a range of backgrounds, and came away with a renewed sense of the importance of language professionals in an increasingly globalised world.

Oh – and I sampled soparnik!

Do you love figures, calculations and graphs? Or would you rather avoid numbers if at all possible?
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If you’re an editor or proofreader who routinely works on mathematics or science material, you’ll be used to dealing with figures, percentages, tables and graphs. But even editors who work on other texts (academic, business, and even fiction) will sometimes need to handle numbers and data.

Perhaps you’re editing a survey report, a paper containing the results of a research study, or an organisation’s annual report. Even if the client isn’t expecting you to perform an in-depth analysis of their calculations and data presentation (and you feel it’s out of your area of expertise – or your comfort zone), there are some straightforward things you can look out for to help your author keep their data in line.
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Most of what follows is based on my own experience, so it isn’t intended to be an exhaustive list of issues. But I hope it will reassure you that checking figures and data presentation doesn’t necessarily require you to have a PhD in mathematics. Your basic editing and proofreading skills – together with a bit of logic and common sense – can often help you to spot when something’s amiss.
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This issue will be familiar to most editors and proofreaders. When writing a number, should it be ‘five’ or ‘5’, for example? What about ‘twenty’ or ‘20’? ‘Three hundred and forty-nine’ or ‘349’? This will often be covered in your client’s style guide. A common convention is for numbers below 10 to be written as words, and 10 and above to be written as figures. But this can vary, so it’s worth checking.
 
In some (though not all) conventions, numbers within the same sentence should be made consistent:
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• I bought 3 apples and 13 pears. YES 
• I bought three apples and 13 pears. NO

In formal writing, it’s preferable to avoid starting a sentence with a figure. This might simply mean using words instead:
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• Twenty people visited the museum. YES
• 20 people visited the museum. NO

 
Alternatively – and particularly if the number is a large one, or it isn’t a whole number – it’s better to reword the sentence.

• On average, 345.23 people visited the museum each day. YES
• 345.23 people on average visited the museum each day. NO

 
If you’re editing fiction, conventions might be slightly different. For example, numbers are often expressed in words when they appear in dialogue.
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There are various ways in which statistics can be unintentionally misreported in the text. As an example, let’s look at two statements.

• According to our research, 50% of dentists are women. YES
• According to our research, 50% of women are dentists. NO

 
It’s easy to see how the confusion arises: the sentences contain the same words – just in a slightly different order. In some cases – like this one – it’s obvious that one of these sentences is incorrect, purely on the basis of general knowledge. In other cases, such inaccuracies are more difficult to spot without checking elsewhere in the document.
 
Other things to look out for in the text include:
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• Making sure ‘greater than’ (>) and ‘less than’ (<) are the right way round (sometimes mix-ups occur when the author has rearranged the text);
• Making sure ‘significant’ and ‘not significant’ are correctly attributed (particularly relevant when statistical analysis is being reported). 

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In the same way that you’d proofread names, punctuation and capitalisation of words and phrases, you should be on the lookout for obvious errors and inconsistencies in numerical content. For example, when numbers are mentioned in more than one place (in a table, in the text, in the introduction, on a graph), are they consistent? Are the correct signs used (+, −)?
 
Similarly, in the same way that you’d use your own knowledge to spot errors when proofreading a general piece of text, you can sometimes see clearly that a mistake has been made. If an author claims that the population of London is 8,787 or 8.7 billion, you’ll probably realise that there’s something wrong. In a school report I was proofreading, I noticed that a student was congratulated on achieving 1.25 cm in the high jump, which conjured up an amusing – though misleading – image.
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​Remember when Michael Gove, the then UK Secretary of State for Education, stated that he wanted all schools to be performing above the national average? Think about it. If all schools are above the national average, that is no longer the average. As proofreaders and editors, we need to have some level of understanding of basic mathematical terminology – or at least, of words and concepts that are in everyday use – so that we can at least raise a query if something doesn’t look right.
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An awareness of what percentages mean can help you to spot errors and problems. Even if you’re not going to be checking an author’s calculations, it does help to know that 50% is half of something, 33% around a third, and so on. So if an author claims that 24 of the 47 people in a survey are men, and that this proportion is 25% (i.e. a quarter), it’s something you need to query.
 
As well as basic calculation mistakes, it’s worth being on the lookout for inaccurate descriptions of percentages. I’ve seen ‘majority’ used to mean ‘the largest proportion’. Here’s an example:

• 25% of people in the group are self-employed
• 35% of people are retired
• 40% of people are employed

This does not mean that ‘the majority of people are employed’ – ‘majority’ means ‘most’ (i.e. more than 50%), rather than simply the largest group.
 
Another thing to check is whether the percentages add up to 100. But beware – that might not always be appropriate. For example, if reporting on answers to a survey question where people could tick more than one option, the total could well be more than 100%. In this example, it’s clear that some people like both apples and bananas:

• 65% of people like apples
• 73% of people like bananas

​In cases like this, the percentages won’t necessarily add up to 100.
 
A more subtle issue when it comes to percentage is whether the author really does mean ‘per cent’ (%), or whether they mean ‘percentage points’.  As an example, if the unemployment rate in 2001 was 5% and the unemployment rate in 2011 was 10%, the correct way to describe this would be to say that the 2011 rate is 5 percentage points higher than the 2001 rate. The unemployment rate is definitely not 5% higher (in fact, it is 100% higher!).
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​Even if the client isn’t expecting you to check all the calculations – some of which might be pretty complicated – there’s no reason you shouldn’t check straightforward sums. Adding up a column of numbers in a table can sometimes reveal some surprising errors, or issues that at least need to be queried. It can be handy to use Excel to check figures: simply cut and paste your column(s) of numbers into a blank spreadsheet and use the SUM function (∑ from the ribbon on the Home or Formulas tab).
 
You can also use Excel to perform other straightforward calculations (%, −,  ×, ÷). Even if you don’t routinely use Excel, it’s worth familiarising yourself with the basic functions and with how to create a simple formula. Of course, you can always check figures using pen and paper or a calculator, but Excel can save you quite a bit of time (and – if used with care – can reduce the risk that you’ll make errors in your own calculations). 
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​If mathematics isn’t your thing, it’s possible that your eyes glaze over when you see any type of equation. But even if you’re not expected to proofread equations in the text, you can use your existing skills to spot obvious errors. For example, you might notice a term in the equation that’s different from those mentioned in the text. There might be a reason for this, but it could be a typo, so it’s worth a query to the author. Look out, too, for equations that the author has copied and pasted (to save retyping) with the intention of putting in different figures or other terms. Has the author remembered to update all the details?
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​I occasionally come across a table or chart in which the number ranges look something like this:

• 0–10, 10–20, 20–30, … and so on.

This is a problem because the ranges don’t have clear upper and lower limits: they overlap. For example, in which category would a value of ‘20’ be placed? Only the originator of the data would know the answer, so there’s usually very little that the editor or proofreader can do to correct this, other than query it. Ideally, ranges should look like this:

• 0–9, 10–19, … and so on.

Or like this:

• ​0–10, 11–20, etc.

And if the data includes values that are not whole numbers (e.g. 2.8, 19.99, etc.), the ranges will need to be more exact:

• 0–9.99, 10.00–19.99, etc. 

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​Again, consistency is the key here, as well as sticking to the style requirements.

a) Units

• Are these consistently abbreviated (km) or spelled out (kilometres)?
• If they’re abbreviated, are they closed up to the figure (5km)? If there’s a space, should this be a non-breaking space so that the figure and the unit do not become separated over a line break?
• How should percentages be expressed: 25%, 25 % (with a non-breaking space), 25 percent (tends to be US spelling) or 25 per cent (tends to be UK spelling)?

b) Decimal separators

In UK and US English, a full stop (full point) is usually used to separate whole numbers from decimals. The decimal point is usually on the baseline of the text, but sometimes a middle dot is used (e.g. 34·12). And in some countries a comma is used as a decimal separator. I’ve come across this most often in work by European authors, but the convention is also followed elsewhere.

c) Thousands separators

​Similarly, there are different conventions for separating groups of digits in larger numbers. In many cases a comma is used (10,000), but some styles call for a non-breaking space (10 000).
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Whole books have been written about the best way to present data in graphs, charts and diagrams, and the mistakes that can be made in data visualisation. Here, I’m just going to highlight some of the issues that I’ve come across when editing material containing such features.

a) A suitable style

Does the chart present the data clearly and unambiguously? For example, pie charts are often not a good way of presenting data, as this article explains. When checking a chart, graph or diagram, you need to ask whether it makes sense. Can you think of a clearer or better way of presenting the data?

b) Gimmicks

It’s tempting to use colours and special effects to make a chart, graph or diagram more eye-catching and ‘interesting’. However, that’s often not necessary (unless such effects are part of house style or branding). Bear in mind that colours, shapes and fancy shading can be distracting and confusing for the reader. In any case, such effects will often be stripped out at the next stage of the publication process.

c) Axes

As a rule, these should always start at zero. In this example, the chart on the right seems to be suggesting that The Times newspaper has twice as many sales as the Daily Telegraph, but that’s simply because the vertical axis starts at 420,000 rather than at zero. Results can easily be distorted if the chart isn’t showing the full picture.

d) When charts go wrong

Special mention must be made of this chart, which shows the average female height in various countries. It’s misleading in a couple of important ways:
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• The shapes chosen to represent the different heights are of different widths (in proportion to their heights). So the ‘Latvia’ shape is larger in all dimensions than the ‘India’ shape, completely distorting the picture.
• The vertical axis does not start at zero. Yes, the values represented are all above 5 feet, which is probably why the authors decided to present the data like this. But that has the effect of suggesting that women in Latvia are four times as tall as women in India.

You first need to consider whether the table is suitable for the type of document (e.g. an academic paper vs. a brochure aimed at the general public) and whether it presents the data clearly.
 
When it comes to checking the details within a table, the advice I’ve already mentioned is relevant. Use your proofreading skills to check whether figures are consistent with those mentioned in the text. Add up columns to check totals. Apply your common sense to make sure the data looks correct.
 
It’s also worth checking the following specific points:

a) Units

​Are the units clearly stated? For a table displaying only one type of data (e.g. percentages or monetary values), the units are sometimes included in the table caption:
Table 1: Owner-occupiers as a proportion of the population, 1950–2017 (%)
 
If the table shows different types of information, the units might be included with each value. So the columns will look something like this:

Consider whether the table would be less cluttered if the units were added to the column headers and deleted from the data itself, as in this example: 

b) Order of information

Check whether items are listed in a consistent way. For example, in the table above, the ‘countries’ are shown in alphabetical order. But the author could also have chosen to list them in ascending or descending order, by either the unemployment rate or the average income. Either of these alternatives would have been acceptable. However, if items are listed in apparently random or inconsistent order (e.g. in a series of tables), this might be confusing to the reader.
 
c) Row and column headings

Do these clearly explain the data in the table? If there’s more than one table with a similar layout, are the row and column headings presented in a consistent way?
 
d) Table layout

​I recently came across a table similar to this one (I’ve only included part of the table, although the rest of it was similarly misleading). The author had tried to present information about the sample population, but the table was laid out in such a way that it implied an association between different variables. For example, it appeared that all the male participants are in the three younger age groups, and that all the female participants are in the older age groups.

​The way this table is laid out suggests connections between the different categories that don’t (in this case) exist. And – to illustrate a point made earlier – you might have noticed that the figures in the ‘Age’ categories add up to 104, rather than 100 (the total for the ‘Gender’ categories).
 
Rather than presenting the information in this way, it would have been better to keep all the categories separate. This is the layout that I suggested to the author. 

​This version is not as concise as the original, but at least it doesn’t suggest relationships that aren’t (necessarily) there.

​I hope this article has reassured you that your usual proofreading skills, together with a bit of common sense, will help you to check numerical information in a document, even if you don’t consider yourself a ‘numbers’ person. Here’s a summary of my top tips for approaching this type of work.
 

• Consult the style guide (if any) to check what’s required.
• Consult Butcher’s Copy-editing and New Hart’s Rules, both of which have useful sections on science and mathematics.
• Use logic and common sense to judge when something’s not quite right.
• Use Excel to check straightforward calculations.
• If numbers (and the way they are presented) are repeated in different parts of the document, check them for consistency.
• Check for similar statements about numerical data in different parts of the document (in the abstract, executive summary and conclusion, for example) and make sure they’re consistent.
• Ask yourself whether charts and tables present the data in a clear way.
• Query with the author if anything looks amiss.

​Are you a natural diplomat? Or do you struggle to respond with sensitivity and tact, especially in stressful situations? And what does all this have to do with editing and proofreading?
 
Diplomacy is never far from the headlines, whether it’s the Brexit negotiations, ceasefires in long-running armed conflicts, or international agreements on emissions targets. Even if negotiations don’t take place in the public eye, we know they’re happening and we can see the results (or lack thereof).
 
Although such situations might seem rather remote from our daily lives, I think we probably all use more diplomacy on a day-to-day basis than we imagine. This was brought home to me recently by an incident involving a friend of mine (a fellow editor, although the situation wasn’t related to editing). This friend had managed to resolve a long-standing and seemingly intractable family problem by speaking separately, and with very well-chosen words, to each of the parties involved. The situation was quickly sorted out to everyone’s satisfaction. No one lost face, no one felt aggrieved, and no one was seen as ‘the bad guy’. I was seriously impressed with the way my friend had engineered this solution. It was pure genius!
 
Now, I wouldn’t call myself a natural diplomat. Yorkshire folk have a reputation for plain speaking and bluntness, and that’s often not conducive to approaching situations in a calm, measured way. Add to that my tendency to try to make a joke out of everything and it’s safe to say that I’m not going to be leading international peace talks any time soon.
 
But in the world of editing and proofreading – particularly the freelance variety – there are plenty of scenarios in which a pinch of diplomacy can go a long way.

​Being a freelance editorial professional involves much more than the mechanics of editing and proofreading. As well as all the requirements of running a business – marketing, keeping on top of the accounts, planning and advertising, to name but a few – it involves building relationships. That’s where diplomacy comes in. It’s a question of taking a position, thinking about how rigidly you need to stick to it, considering the ramifications, and communicating effectively with others without causing offence or undermining your own position. Here are some common-sense tips.

Admittedly, these tips are unlikely to secure you a place at an international negotiation table, but you might find them useful in running your editorial business. And although diplomacy – like good editing – often goes unnoticed, your clients, colleagues and family members are still likely to appreciate it, and they’ll certainly notice if it’s absent!

On a windy October night that was strangely warm for the time of year, the skies dark with the threat of rain, I made my way over the bleak Yorkshire hills to the magnificent, majestic Piece Hall in Halifax. (OK, I’ll stop that now. I’m an academic editor, not a fiction author.) I was going to an event entitled ‘How to Get Published Without an Agent or Travelling Down to London’, the venue was The Book Corner bookshop, and my companion was novelist and fiction editor Helena Fairfax.

As an author, Helena had more of a vested interest in the topic than I had. But I’m always keen to support local publishing-related activities, and I welcome any excuse to visit the Piece Hall. The speakers at this event – part of Halifax Festival of Words – were Kevin and Hetha Duffy from Bluemoose Books in Hebden Bridge. They’re fierce supporters of the northern publishing scene and have invested a great deal, personally and professionally, in promoting literary fiction that mainstream UK publishers might not be willing to publish.

​Kevin and Hetha gave an entertaining round-up of the various options for getting published. The traditional route is through a literary agent, who then liaises with publishers in the hope of securing a deal for the author. We heard about some of the drawbacks of this system, the main one being the reluctance of larger publishers,  who are focused on the profits they have to make for their shareholders, to take risks with work by new authors, particularly if that work is outside established genres or current literary trends.

Submitting to a small independent publisher – Bluemoose, for example – is another option. Kevin and Hetha gave us a fascinating insight into their publishing process. They receive around five hundred submissions (of three chapters and a synopsis) every year, request full manuscripts for around five of these each month, and then eventually publish around three or four titles a year. They have to really fall in love with a manuscript if they’re to publish it (although they admitted that the two of them don’t always fall in love with the same things!).

Kevin and Hetha described some of their publishing successes, including Benjamin Myers’ novel The Gallows Pole, for which Benjamin has won several literary prizes and a not inconsiderable amount of money. Benjamin’s publishing journey has not been an entirely smooth one, his second novel having been turned down by the large company that had published his first novel. Following the outstanding success of The Gallows Pole – his third novel – the rights to Ben’s backlist have now been bought by Bloomsbury. Kevin and Hetha clearly regard this as a vindication of their decision to support Benjamin’s work and of their approach to taking what other companies might see as a risk.

What stood out for me was the emphasis placed on the editorial process. Hetha gave her two key tips for authors.

1. Be rigorous in revising your own work. Keep revising and editing your manuscript, and show it to others (friends and family, for example).
2. Be prepared to be professionally edited.

On this second point, Hetha described the team’s relationship with an author as a collaborative one. It is, she said, the most important relationship in publishing. For an author, delivering a manuscript to Bluemoose is not the end of the process – it’s the beginning.

The company has a small team of editors, including Hetha’s mother, who go through a manuscript until they are absolutely satisfied that it is the best it can be. Editing is not an easy process, and some authors are uncomfortable with it, but Kevin and Hetha are so passionate about the books they publish that they are unwilling to compromise on this. And they’ve come to realise the importance of making it clear to authors from the outset that this is what will happen to their manuscript. Ultimately, if the Bluemoose team are not fully satisfied with the final version of a novel, they could take the decision not to publish. However, they were keen to stress that they would rather work with an author than battle it out over the quality (or otherwise) of individual sentences.

There was a great deal more information here, including a description of other routes to publishing: self-publishing (which has massively increased in popularity in recent years), vanity publishing and print on demand.

From its very humble beginnings in 2006, Bluemoose Books has become a force to be reckoned with – albeit still a small one – in the UK publishing industry. I get the impression they are less and less concerned with trying to compete with the (mainstream) London publishing scene: they clearly have their own fiercely independent vision of what they want to achieve. In fact, in recent times, mainstream agents and publishers have been approaching Bluemoose, rather than the other way around.

This was a really lively and engaging talk, and a great thing to have as part of the Halifax Festival of Words. I’m sure those in the audience who are keen to have their work published will have found it very useful and picked up some valuable tips.

I’m not an author, but I enjoyed Kevin and Hetha’s energy and enthusiasm, their drive to support publishing outside London, and – perhaps most of all – their endorsement of editing as the most important part of their publishing process.

For many editors and proofreaders, the natural reaction to the words ‘public speaking’ can be summed up as follows: ‘Aaaaaaaaaargghhhh!’ (Or is that just me?)

Editing and proofreading tend to be rather solitary pursuits conducted behind closed doors, away from the public eye. For many freelancers, the need to speak in public doesn’t crop up regularly. In fact, sometimes there’s little need to speak at all in the course of a working day, especially now that online methods of communication are so widely used.

And if a public speaking opportunity does occasionally present itself – the invitation to give a talk or deliver a session at a conference – there’s usually the option for the freelancer to say ‘no’ without jeopardising their core editing and proofreading business.

So what on earth would possess a freelance editor to step outside their comfort zone and train in public speaking? At a recent meeting of our local Society for Editors and Proofreaders (SfEP) group, we heard from neuroscience editor Julia Slone-Murphy about ‘The life-changing magic of public speaking’.
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Julia described situations in the past when she had been obliged to speak in public: the sleepless nights beforehand, the sweaty palms, the racing heartrate, the typewritten script delivered rapidly and without looking at the audience… She recently decided to tackle her fear by taking some training. Stepping several miles outside her comfort zone, Julia signed for up both a stand-up comedy course and some training with the Public Speaking Academy. Here’s a summary of what she gained, followed by three top tips for public speaking. 

​Key benefits of public speaking training

• Increased confidence in public speaking

This, of course, is the whole point of the training. It’s all about better planning of content, more assured delivery, and the ability to hold the audience’s attention and convey a message effectively.

• Improved verbal communication skills

Public speaking training can increase skills and confidence when speaking in other professional situations, such as meetings and networking events. And when speaking to clients on the phone, the ability to organise thoughts and speak confidently comes in very handy.

• Improved eloquence in written communications

Perhaps less obvious are the benefits of training in terms of improved written communication skills. Again, the ability to put together a message logically and coherently is a real asset, whether it’s for an email to a client, a blog post or a business report. It certainly helps to create an impression of authority and confidence.

• A social boost

Personal as well as business relationships are increasingly conducted online, and it’s easy to get out of the habit of speaking to friends on the phone or meeting face to face. Increased confidence in speaking can bring a greater willingness to make time for social encounters and to communicate directly with friends.

• Greater self-confidence in everyday life

There’s a fantastic sense of success in seeing yourself improve in leaps and bounds, particularly in an activity you previously struggled with. It’s a real achievement, and one that makes you feel more competent and confident in everyday life.
 
Three Top Tips

1.Make it personal
Your audience will be much more engaged in your speech if you remember to be yourself. Remember that we all have something different to say, and a unique way of saying it. Weave your own personal experiences and views into the message you’re conveying. Your audience is more likely to relate to your ‘story’, and your speech is more likely to be memorable and entertaining.
 
2.Focus on the message
Rather than worrying about being the centre of attention during your speech, focus on delivering a message your audience will find interesting. That will move the spotlight away from you and onto your audience: it will help you to give a useful, generous and helpful talk, without worrying about what people are thinking about you.
 
3.Keep practising
You need to find opportunities to carry on honing your skills and developing your techniques, otherwise you’ll be back to square one. Signing up for regular training is a good idea, as is saying ‘yes’ to as many speaking opportunities as possible!

Julia has gained so much from the training that she encourages everyone to improve their public speaking skills, whether or not they’re planning to give a presentation or make a speech. Goodbye, sweaty palms and racing heartrate; hello, logical thinking, eloquent delivery and sparkling social and business encounters!

Microsoft Word is the standard software used for editing, and Track Changes is one of its most useful features: it shows amendments that have been made to a Word document and allows other people to accept or reject these changes.

When I’m editing for a client – whether that’s an academic author, a government body, a business, an organisation, or an individual – my focus is on making it easy for them to see the amendments I have made to their material. Track Changes is the ideal way to do that. I can also add queries or explanations using the Comments function.

​There are a few things an editor can do to make it easier for a client to read a document when Track Changes have been used. First, it’s worth considering whether every change needs to be tracked. For example, will the author need to know that you’ve changed the proofing language? If you select all the text and change the language with Track Changes on, this will add a ‘Formatted: [language]’ mark-up every time you make any sort of correction to the text from then on (see left). So you may decide to make this a ‘silent’ change – one that’s made with Track Changes turned off.

Another correction that can usually be left untracked is changing double spaces (between words or sentences) to single spaces. The same goes for any unnecessary spaces that occur at the end of a line or paragraph, or within the cells of a table. Changes to the overall formatting – the font size, the line spacing, the paragraph style – are often best left untracked. If it’s important for the author to know that you’ve made any of these untracked changes, you can add a Comment at the start of the document or mention it in the covering email when you return the work.
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When it comes to sending the edited document back to the client, there are various steps you can take to help with readability and clarity. I usually send two versions of the document:

• ‘Tracked’ – a version that shows all the changes that have been made, together with all the Comments
• ‘Final’ – a version with all the changes accepted, but with the Comments still showing. 

If the client wants to look at all my amendments – apart from the ones I’ve made ‘silently’ – the Tracked document gives them the full picture. The client can go through the document line by line and accept or reject each change at the touch of a button. The points raised in the Comments can also be considered along the way.
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Alternatively, if the client prefers to read the end result and is not overly concerned with each amendment, the Final version is available. The document can be read without the distraction of coloured lines and corrections, and the Comments are still visible, so any queries or explanations are there for the client to see.

​Rather than peruse the Final version, the client could, of course, simply use the Tracked version and choose to view the document with ‘No Markup’ (one of the viewing options on the Tracking section of the Review tab). This would look the same as the Final version and would enable the client to quickly view, accept or reject the corrections by toggling from ‘No Markup’ to ‘Full Markup’.

​But I’ve found that clients appreciate having the two different versions – one with changes showing and one with changes accepted – with the Comments visible on both. Track Changes is a useful feature, but there are so many options for how the mark-up appears (and which types of correction are visible) that it pays to keep things straightforward. 

Something I heard on the radio recently made me think about how the language we use can signal a positive or negative approach to a particular topic.

Following a programme dealing with new advice on healthy lifestyles, the announcer said, ‘Well, the news seems to be full of doom and gloom about diet and exercise, but let’s find out whether the weather is any more cheerful.’

The announcer’s comments automatically cast the advice on diet and exercise in a negative light. She could have used positive language (‘Well, after that great advice on maintaining a healthy lifestyle, how’s the weather looking?’), or even left things fairly neutral (‘Well, lots to think about there. Now let’s look at what the weather has in store.’). But the suggestion was that maintaining a healthy lifestyle necessarily involves a level of suffering and privation, rather than being an active choice to follow healthier habits.

Now, I’m not saying it’s always easy to stay in an optimistic frame of mind – I do my fair share of grumbling and catastrophising! But when it comes to editorial freelancing, there are definitely ways of seeing the positive side of situations. Here are a few examples.
 
1. Running a business
To pick up the ‘healthy lifestyle’ theme, as freelancers we often need to take action to keep our businesses in a healthy condition. That sometimes means doing things outside our comfort zone – marketing and networking spring to mind here – or tackling tasks that seem boring or mundane, such as planning or accounts. Other activities might seem expensive or time-consuming (or both!): taking a training course, perhaps, or setting up a website.

But turning this around, running and growing a business can be seen as a challenge, with rewards – both personal and financial – for those who do it successfully. Rather than viewing marketing, networking, planning and training as chores, perhaps we should try to approach them with enthusiasm. After all, just as with diet and exercise, we have a great deal of flexibility in the choices we make and in the way we pursue them. And as with diet and exercise, optimism, imagination and the willingness to put in some effort will usually pay dividends.
 
2. Losing a client
All businesses have their ups and downs, and losing a regular client can feel like a devastating blow. Sometimes it’s out of our control, such as when an organisation takes the work in-house or overseas. Sometimes it’s a matter of money – the client is no longer able or willing to pay our rates – or a mismatch in expectations about scope of work or turnaround times. Whatever the cause, replacing the lost income is likely to be a priority, especially if the shortfall means a struggle to pay bills.

It can be a surprise to realise that losing a client can have a positive side. Sometimes it’s tempting to stick with one type of client, with a particular fee level, or with specific working arrangements. Losing a client can give us the opportunity to reassess our situation and ask some fundamental questions. Is it time for a change of direction? Are there new types of client, or new types of work, that we’d like to pursue? Could this be an opportunity to raise our rates? Depending on the circumstances of the loss, it might also be a chance to assess what went ‘wrong’ (if anything), and whether there are things we can do to protect ourselves against this in the future.
 
3. Lifestyle
Working as a freelance editor or proofreader has its own lifestyle challenges, and it’s important to take heed of the advice that’s available. Maintaining health and wellbeing involves – among other things – taking regular breaks from the screen, making an effort to get some fresh air and exercise, and thinking carefully about food and drink consumption.

Rather than see these as tedious ‘rules’ that have to be followed, we need to see them as an investment in our physical and mental health, and, hence, the health of our business. We can enjoy time away from the screen, whether we’re doing something else that’s useful or taking time out to relax. Laura Ripper has some excellent suggestions on her blog. Fresh air and exercise have obvious physical benefits, and they also offer a chance to think – or to switch off completely if that’s what’s needed. And our choice of food and drink can have an immediate effect on productivity – who can edit efficiently after a carb-heavy lunch?
 
4. A ‘can do’ attitude
Of course, it’s important to be clear – to ourselves as well as to our clients – about how much we’ll charge for a particular piece of work, and when we can complete it. And if a client’s demands seem unreasonable, or they simply can’t be accommodated, there’s nothing wrong with saying ‘no’ to a project.

But if the work looks interesting and there’s some flexibility in what can be done, we can sometimes present a positive alternative. We can discuss with the client what we can do within an agreed budget – for example, edit the language but not format the references. Similarly, clients are sometimes willing to wait until there’s a suitable gap in our schedule: rather than saying ‘No, I definitely can’t do it this week’, try saying ‘I could certainly fit this in next week. Would that work for you?’
 
5. Approaching our work
It’s worth thinking about the ethos of our editing and proofreading services. Is it helpful to tackle our work with a sense of superiority? Should we see ourselves as ‘Grammar Nazis’ who are driven by the desire to find mistakes in other people’s writing? It’s all too easy to become disillusioned when we’re editing and proofreading. Surely everyone should know how to use an apostrophe! And why, oh why do some people still put two spaces after every full stop?

It sometimes helps to think about things from the other side of the fence. An author has put in time and effort to produce a piece of writing (which is not an easy task), and it’s our job to make it the best it can be. Yes, it sometimes seems like an uphill struggle, and we might feel as though our work goes unnoticed. But we should feel confident in our skills and expertise, and take pride in our own contribution to whatever project we’re tackling. There’s a lot to be said for being an unsung hero!

To paraphrase the Grinch (who, you’ll remember, tried to steal Christmas), not everything about Christmas comes from a store. Here are six things that freelance editors and proofreaders appreciate that don’t cost money.

1. Feedback (positive or negative)
It’s valuable to have feedback from a client on a job well done, or to have some suggestions for improvement. It only takes a few moments, but it can really help to make a freelancer feel that someone has actually noticed their work.
 
2. Thanks
Similarly, a quick ‘thank you’ from a client or a colleague acknowledges the effort that the freelancer has put in to meet a deadline, solve a problem, or give some helpful advice. Again, it doesn’t take long, but it’s sure to be appreciated.
 
3. Payment
Of course this costs money, but the speed at which an invoice is settled varies widely! Some clients go the extra mile to pay on time – or even before the required date – and that’s particularly pleasing for the freelancer.
 
4. Understanding
If freelancers are at home during the day, that’s probably because they’re working. Yes, freelancers might take a break to catch up with household chores, go shopping, or go out for lunch. But they really appreciate it when non-freelancing friends and family recognise that ‘being in the house’ doesn’t necessarily mean ‘being available for a chat’ or ‘being available…’ for anything else apart from work.
 
5. Support
Many freelancers work alone, so they value the support they receive from colleagues. Sometimes that’s face to face, for example at an SfEP local group, but nowadays it’s just as likely to be online. The SfEP forums and the various Facebook groups for editors all create a sense of camaraderie and offer a place to air problems, share experiences and seek help, 24/7!
 
6. Friendship
As often happens in traditional workplaces, freelancing can lead to long-lasting friendships. Editors and proofreaders who’ve met through local networking, the SfEP conference, or online groups or forums sometimes discover that they have a great deal in common over and above their professional interests. It’s a very supportive profession, with fellow freelancers seen as colleagues rather than competitors, and even clients can become friends! 
 
So whether or not your seasonal gifts have a price tag, I hope you enjoy Christmas, and I wish you all the best for 2018.

Proverbs are a rich source of advice on daily life. Here are six sayings that will resonate with freelance editors and proofreaders.
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1. You can’t make a silk purse from a sow’s ear
Editors and proofreaders might mutter this to themselves as they try to improve a piece of text that’s in a bad way. I’m not sure I agree with the sentiment, though. For a start, it’s not for me to judge that a piece of text is a ‘sow’s ear’. Writing isn’t an easy task, particularly if – as with some of my clients – English isn’t your first language.
 
Also, my view is that improving an author’s written work is what editors and proofreaders are being paid for. Even with limited time or a limited budget, there are almost always things we can do to make improvements. A ‘silk purse’ might not always be achievable, but we can usually manage to create something that’s more presentable than a ‘sow’s ear’.
 
2. Many hands make light work
Although editing and proofreading are often solitary activities, there are times when editorial professionals work together. For example, a couple of years ago I began subcontracting work to a trusted colleague, Laura Ripper, and I wrote about the experience on my blog. I’ve worked on other projects where the work has been shared between a group of editors in order to meet a tight deadline.
 
Communication is the key to success in these situations. Everyone needs to know what’s happening and what’s expected of them. Any issues need to be highlighted and communicated as soon as possible. And an up-to-date house style is worth its weight in gold.
 
3. Too many cooks spoil the broth
Many editors and proofreaders will have experienced this scenario, which is the opposite of the previous one. Perhaps several people working on the same project seem to be doing things in completely different ways. Or a document you’re working on has to incorporate the opinions of various different people who can’t seem to agree (‘editing by committee’). Or there are seven different versions of the same document in circulation.
 
In these situations, the whole job seems to take twice as long and the end result may be far from ideal. There’s a need for some clear ground rules, including a house style, agreed timescales, and effective version control!
 
4. More haste, less speed
As in all walks of life, the more you rush to finish a task, the less progress you will make. If you’re an editor or proofreader, this might mean missing errors that you should have spotted, failing to follow the brief properly, sending the wrong version of a file back to your client, or even sending the right file to the wrong client!
 
It’s important to be realistic when accepting work or negotiating deadlines, and to study the brief you’re given. Using checklists and house styles can also help. It’s worth making every effort to get things right first time. As another familiar saying goes, ‘A stitch in time saves nine’.

​5. A change is as good as a rest
One of the things I enjoy about my work as a freelance editor and proofreader is the variety. I’d go so far as to say it’s the spice of life. Over the course of my freelance career I’ve worked on a whole range of material, from writing web copy and proofreading pet-food packaging to editing academic journal articles and high-profile reports for an EU agency.
 
It’s even better when I have more than one project on the go at the same time. I enjoy using different skills, reading about a variety of topics, and working on material in different formats. A change of task, pace and subject matter keeps me on my toes.
 
6. You can’t teach an old dog new tricks
Now this is one I’d definitely take issue with. It’s certainly the case that the older you get, the harder it is to learn new things. Also, the longer you’ve been doing a job, the greater the danger that you’ll become set in your ways. But our profession is constantly evolving, so as editors and proofreaders we need to keep up with changes in the industry, technological developments and potential new areas of work.
 
Fortunately, there are many different ways of doing this. Being part of a professional organisation such as the Society for Editors and Proofreaders (SfEP) is a great way to keep up to date with new ideas and technology. This is particularly important for freelancers, many of whom don’t have the same access to professional support, training and skills development as in-house editorial workers do.
 
Joining a professional organisation also offers the chance to develop valuable relationships with others in the field. Remember: birds of a feather flock together!

PROS
Find & Replace is fairly straightforward and intuitive. It allows you to click through and change items one by one, or ‘Replace all’ if you are sure you need to correct all instances in the document.

CONS
Beware of unintended consequences, particularly when using ‘Replace all’. The results can be amusing (e.g. changing ‘pants’ to ‘trousers’ results in ‘particitrousers’), but remember that mistakes take time to fix.

EXAMPLES
Changing one spelling to another (e.g. ‘favor’ to ‘favour’)
Removing unwanted spaces (e.g. change two spaces to one space after a full stop)
Italicise all instances of a word (using ‘Format’)

​FIND OUT MORE
MS Office support, or Word’s in-built ‘Help’ function

PROS
Wildcards are a very powerful tool. They are useful because they allow you to find patterns rather than exact strings of characters (as you do with the basic ‘Find & Replace’).

CONS
They can seem rather baffling at first glance! It takes time to develop the skill of defining terms correctly, so be prepared to practise. As with a normal Find & Replace, there can be unintended consequences.

EXAMPLES
Transposing names, dates, etc.
Inserting spaces between numbers and symbols
Formatting references

FIND OUT MORE
PC World article
WordMVP article
Jack Lyon’s Wildcard Cookbook (free to download from the Intelligent Editing website)

–PROS
PerfectIt is easy to install and use, and it is immensely useful, even if you don’t take advantage of all its customisability. You’re always in control, as you decide which corrections to make and which to ignore. PerfectIt can be useful for analysing a document before you begin editing and for checking that you haven’t missed anything once you’ve finished. It’s customisable to your own or your client’s requirements.

CONS
You have to pay for it! It's available on an annual subscription, and there are hefty discounts for members of various organisations, including the Society for Editors and Proofreaders (SfEP). A previous drawback – that PerfectIt was only available for PC – has recently been partially rectified with the introduction of a cloud version, which can be used on a Mac.
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EXAMPLES
Hyphenation
Variant spellings (ise/ize)
Capitalisation
List punctuation
Heading styles
Number styles
Abbreviations (are they all defined?)

​FIND OUT MORE
Intelligent Editing website​

A macro is a series of commands that you run together to save time on repetitive tasks. Each macro performs a different function, or series of functions, and you install each one separately so that you have a menu to choose from. You can also assign keyboard shortcuts to each macro, which speeds things up even more.
​
Anyone can write their own macros, but there are plenty of ready-made ones available. UK editor Paul Beverley has produced a whole book of them, including instructions on how to install and use them, and this is free to download. He also has a useful YouTube channel.​

PROS
Macros are powerful tools that can save literally hours of time on repetitive tasks. They’re free to write, install and use. Even ready-made macros can be customised, once you’re familiar with how they’re put together.

CONS
They may seem daunting at first, but once you’ve installed your first macro, the world is your oyster! Beware of unintended consequences (see above).

EXAMPLES
A couple of Paul Beverley’s ‘big’ macros:

• FREdit: A Find & Replace macro that allows you to make a series of global changes, all at once, throughout the document.
• DocAlyse: Analyses a document and reports on various aspect of style, such as UK/US spellings, numbers written as figures, etc.

My favourites of Paul’s ‘single-task’ macros:

• ProperNounAlyse: Lists all capitalised words and the number of times they occur, helping you to spot spelling inconsistencies in the names of people, place and organisations.
• HyphenAlyse: Lists all terms that include a prefix, whether hyphenated, not hyphenated, or appearing as separate words.
• AAnAlyse: Finds possible errors in the use of ‘a’ and ‘an’.

​FIND OUT MORE
Paul Beverley’s website
Paul’s YouTube channel