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Hazel Bird project manages, copy-edits and proofreads 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.
- PMP or PRINCE2: which is most valuable as an accreditation for an editorial project manager?
- Editorial midwifery: why a love of language is not enough
- Keeping projects moving in a crisis by putting people first
- We are already surviving
- Psychological safety in editorial work
- 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
Category Archives: Paperwork
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 >>
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!),… read the rest >>
Copy-editors and proofreaders rarely get any direct contact with or feedback from typesetters. As such, we can never quite be sure whether our markup and working practices are helpful and sufficient or whether we’re causing confusion and wasted time. Developments in technology – for example, the use of styles in Word and the use of Acrobat’s built-in markup tools – have led to further options and possibilities, with the result that there is no single ‘right’ way of marking up text.
As a project manager, I am lucky to be in the middle of this process, so I have an insight into what works (i.e., what causes a project to progress smoothly) and what doesn’t (i.e., what causes errors, delays and even additional costs).
I’m delighted, too, to be able to welcome the voices of the major India-based typesetters Aptara and SPi to this post. These typesetters handle hundreds of titles per week for many of the world’s major publishers, so they work with mark-up from huge numbers of copy-editors and proofreaders.… read the rest >>
I am a huge advocate of comprehensive and well-organised style sheets. When copy-editing and proofreading, they help me to clearly summarise the style decisions I’ve made and communicate them to my client. And, in my project management work, they are indispensable tools for corralling copy-editors on multi-editor projects and for keeping styles consistent throughout copy-editing, typesetting, proofreading, collating and indexing. I’ve previously written about how editors should never fail to provide a proper style sheet (see point 4).
I’ve recently been experimenting with a new technique in my own style sheets: the use of the combo box (also known as a dropdown list). These allow inputting of a set of pre-defined options, one of which is later chosen by clicking on the list and selecting an item.
So how can combo boxes be used in style sheets? Well, I find that the process of compiling a style sheet can be quite time consuming.… read the rest >>
In a recent post I said that copy-editors and proofreaders should always ask, ask, ask if they find their client’s instructions unclear or aren’t sure what’s wanted. In this impromptu post I’d like to expand on that a little.
When editorial project managers (PMs) write briefs, they try to make them perfect. They really do. They endeavour to make them complete, unambiguous and as concise as possible.
But the reality is that they will make mistakes. Especially with more complex, bespoke books.
I recently wrote a detailed twenty-one-page brief for the copy-editors of an encyclopaedia. I started the brief almost from scratch as I was in the midst of a major overhaul of my paperwork, and inevitably the brief contained some inconsistencies, typos and ambiguities. It would be crazy if it hadn’t; after all, the very premise we editors and proofreaders build our livelihoods on is that no human being – whether publisher, author or indeed professional copy-editor or proofreader – is capable of editing their own work with a clear eye.… read the rest >>