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Hazel Bird is privileged to project manage, copy-edit and proofread sometimes dizzying quantities of interesting words for clients ranging from global academic and trade publishers to government policy units to publishers of creative non-fiction. Her focus is on developing dynamic collaborations with her clients in order to help make their goals a reality. Her biggest project to date was a twelve-volume international encyclopedia with over a thousand contributors. She lives in the stunning countryside of the Wye Valley in Herefordshire, UK, and spends her free time trying to corral her ancestors into some sort of order and attempting to offset a severe doughnut preoccupation with heavy lifting.
ABOUT THE BLOG
The Wordstitch Blog brings together my experience working in publishing on both sides of the client–freelancer relationship (often simultaneously). It aims to foster great working relationships, from a belief that the best text products (of whatever kind) emerge out of genuine collaboration and excellent communication.
- Disengage, re-engage: 13 tips for proofreading text you’ve already copy-edited
- Difficult feedback: should you send it and, if so, how?
- When editorial project managers expect too much
- How to use bubble charts to get a snapshot of your clients’ value to your business
- How to close an editorial project effectively
- Proofreading pitfalls: Nine tips to improve your proofreading strategy
- A day in a life of a freelance copy-editor and editorial project manager
- Plagiarism: How to spot it and what to do about it
Author Archives: Hazel Bird
In the editorial world, it’s generally thought that the person who copy-edited a text shouldn’t also be the person to proofread it.
This is a sound rule to follow wherever possible: a proofreader is often referred to as a ‘fresh pair of eyes’, and this freshness can be invaluable. In the same way that an author can become blind to the errors in their own work through overfamiliarity, a copy-editor tends to lose that ‘edge’ that comes with seeing a text anew.
Therefore, having a separate proofreader is usually the best strategy.
However, there are various valid reasons that an editor might find themselves proofreading text they’ve already copy-edited. For example, the anticipated proofreader might have dropped out at short notice. Alternatively, it can be attractive for authors if an editor offers a package of services containing both copy-editing and proofreading.
So, if you find yourself in this situation, what should you keep in mind?… read the rest >>
At some point (hopefully very rarely), every proofreader and copy-editor will find themselves working on a project where it seems that somebody, somewhere, at some point, dropped the ball in a big way.
As a copy-editor, you might discover that the developmental editor seems to have let through major inconsistencies and that swathes of detail are missing. Or, as a proofreader, you might find that the copy-editor appears to have fed the style guide to a passing llama or didn’t seem to heed that the order of words in a sentence is actually somewhat important.
It can be really difficult to determine the most ethical and professional way to approach a situation of this kind. On the one hand, you might feel that the issues are so bad – so systemic – that they raise serious questions about the quality of the previous work. On the other hand, it’s unlikely that you have the whole picture: there are all sorts of potential reasons a manuscript could have reached you in a poor state, and you have no way of knowing who is responsible – if, indeed, any single person is responsible.… read the rest >>
I recently received a thought-provoking comment from a fellow freelance editorial professional who has been working alongside me on a project I’ve been managing. The projects I manage are typically very large (hundreds of thousands or even millions of words), and there are inevitably hiccups that arise and have to be resolved. So I found it interesting when the other editor commented that I am more understanding than some other project managers about these kinds of hiccups.
My first reaction, I’ll admit, was an irrational sense of worry: Am I a soft touch? Am I checking editors’ work thoroughly enough? Am I setting high enough standards?
It’s always good to self-evaluate when such questions arise, and there will always be things I can learn about my management of other editors’ work. However, a short bout of reflection and a thorough check of the text re-confirmed that I set high standards and ensure they are met.… read the rest >>
If you’re like me, you keep meticulous records of all of your projects, including hours worked, hourly rates, speed of work and so on. It’s easy to quickly rack up a lot of data, but data is no good if it’s not put to practical use. I do various ongoing and yearly analyses of my data, and one of those analyses involves creating a bubble chart to give me a snapshot of my clients’ value to me, both monetarily (the volume of work and how much I get paid for it) and in terms of how much I like working with each client. This gives me a visually intuitive way of seeing the cold, hard facts of the value of my clients to my business.
Here’s what I put into my chart:
- client name
- overall income for each client
- average hourly rate for each client
- a subjective rating of how much I enjoy working with the client.
I recently read a helpful post (with handy infographic) on how to close a project over at the A Girl’s Guide to Project Management blog, run by Elizabeth Harrin. Although I get a lot out of reading project management blogs, the tips don’t always straightforwardly translate into the kind of work I do, which usually involves delivering an encyclopedia or book project for publication rather than conducting the sort of change-management process more typically associated with project management outside publishing.
However, the more I looked at Harrin’s seven steps, the more I thought of ways they fit in with closing editorial projects. Let’s take each of the steps in turn.
1 and 2 Handover to users (training and support)
Although I don’t have to train anybody in what to do next with my project deliverables (my publisher clients are, unsurprisingly, very familiar with how to print and digitally publish a book!), I do have to give some context for the files I’m handing over.… read the rest >>
The basics of proofreading are easy, right? You read through the text and mark errors to be corrected. Simple. But of course, as any competent proofreader at any level of experience knows, that’s not the whole story. A proofreader has to carry out numerous tasks to do with technical aspects, style and sense – not just spot where a crucial name is misspelled. As a result, a great deal of finesse is needed to pull off a truly professional proofreading job.
During nearly 12 years in publishing, both in-house and freelance, I’ve seen and done a lot of proofreading. As well as proofreading for other project managers, I manage upwards of 5 million words per year as a project manager of academic encyclopedias and books. Most of those words have to be proofread, so I spend a lot of my time briefing proofreaders, answering their questions, and checking and collating their corrections.… read the rest >>
Nope, that’s not a typo. A lot of digital ink is expended by freelance copy-editors and proofreaders on how many hours a day they spend working. Sometimes, this ends up being couched in rather restrictive language: at one extreme, there are people who are so beaten down with all the work they’ve been offered that they never get a weekend off, and, at the other, there are those who declare it’s impossible to edit more than a few hours a day without losing concentration and making mistakes. (Of course, there are many discussions too that buck this dichotomous trend – Sophie Playle’s recent post ‘How Many Hours a Day Does an Editor Work?’ is one example.)
So, to avoid any possibility it might look like I’m trying to say what I think editorial freelancers ‘should’ do, I’ve deliberately titled this post ‘a day in a life’ – just one life, with one set of personal and business goals, one personality, and one set of health circumstances, all of which are unique to this particular editor and project manager’s life.… read the rest >>
Whether it’s done accidentally, unthinkingly or with malice aforethought, plagiarism is a perennial problem in publishing. Sometimes it might result from an author’s genuine ignorance of the rules and conventions surrounding the reproduction of others’ work; sometimes it might be a shortcut (for example, if an author is commissioned to write in a language other than their own and struggles to formulate their own words); and sometimes it is simply the deliberate theft of another author’s words.
Whatever the case, it is deemed ethically unacceptable and may lead to major legal and reputational damage for the plagiariser and the publisher.
Definition of plagiarism
Plagiarism is the reproduction without credit or permission of material (text or images) previously published elsewhere in such a way that the material appears to be one’s own. It applies to material of any length, even a few words, and it encompasses ideas as well as actual words.… read the rest >>
Not long ago, I met up with three old university friends who are all employed by (or have been employed by) large public-sector organisations. Their work environments (the support and demands of a corporate structure; the necessity of wearing shoes with rigid soles) couldn’t be more different from mine (the freedom to improve or damage my business unchecked by rules set by others; an office six metres from my bed). Yet I always learn things from our work-related chats, whether in the form of direct tips to apply to my business or reflections that give me an altered viewpoint on how I exist as a small business owner. I’d like to share two of those reflections with you.
Next to money, feedback is the most valuable commodity we get from our clients
Whether through direct reporting, receipt of career mentoring, performance evaluations or 360-degree reviews, my employed friends receive a vast amount more feedback on their work than I do as a self-employed person.… read the rest >>
I’m delighted to have been asked to contribute to three other blogs this year. This is a roundup of those posts and also serves to introduce my rewritten and redesigned website, now at a new home at www.wordstitcheditorial.com. I’d love to know what you think of the new design – please comment and let me know!
Macros and wildcards: essentials or added extras?
Back in April, I wrote a post for the Indian Copyeditors Forum introducing macros and wildcards. I suggested some reasons to give them a go and some ways to start getting acquainted with them. Here’s an extract:
… read the rest >>
On certain editing forums, few topics are more likely to inspire passionate debate than the use of macros and wildcards. For many years they have gradually been seeping into our editing practices, and they are now essentials for some editors while for others they remain irrelevant complications – perhaps even distractions from the ‘true’ business of editing: engaging with a text.