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Working with an editor 2: How do I negotiate with an editor or proofreader and book my project in? #amwriting

Working with an editor 2: How do I negotiate with an editor or proofreader and book my project in? #amwriting

This article follows on from Working with an editor 1: How do I request a quote?, where I explained what an editor needs from a prospective client in order to give them a price and turnaround quotation. Now we’re going to look at where you go from there – what will the editor/proofreader send you, is it OK to ask for a sample edit, and how to proceed with negotiating and then – hopefully – booking an editor.

What does a quote from an editor include?

Your editor will usually quote you a price and a turnaround time. I work in a price per 1,000 words (different people do different things: I like my clients to know up front how much they’re going to pay) and will tell the prospect how much time I’ll take to do their work and when I can slot it into my schedule. So I might say something like “I can take on this project for £7.50 per 1,000 words, I’ll need 2 weeks to do the work and I would be able to start it on 1 May”.

Be assured that a good editor will have thought very carefully about the pricing before they send it to you. I try to be as fair as I can to myself and the author, basing my price on the amount of work that the edit will involve. This is why most editors and proofreaders will offer a “from” price on their website if they have a price at all, as that’s a guide to the least it will cost (for something involving a very minimal amount of editing). Some editors offer discounts for students or self-publishers, so make sure you’ve explained if you’re one of those categories.

How to negotiate with an editor

In my opinion, the negotiations should be about dates and turnaround times, and about what you want your editor to do, not about price. I don’t offer a high price so that I can be beaten down to my “real” price, and I don’t know anyone who does.

The price an editor offers you reflects …

  1. Their experience and training
  2. Their knowledge of your subject area or genre
  3. Their knowledge of English grammar, sentence structure
  4. Their ability to help you to express yourself in the best way possible, while retaining your unique voice and writing style
  5. Their knowledge of standard style sheets
  6. Their ability to match the style sheets of publishers, journals, etc.

But within the negotiation, it’s fine to, for example, ask for a sample edit, or ask if the work can be done in a shorter time period (this may involve an urgent fee but your editor will explain that).

Regarding time slots, it comes as a surprise to some people to discover that their editor / proofreader has other clients on the go. We have to keep booking in clients and rebooking regulars in order to have a constant stream of work and, basically, a continuous income. So if your editor really can’t start working with you until the week after next, there will be a good reason for that and they may not be able to move that commitment. However, do give them a chance and ask, just in case.

Is it OK to ask for a sample edit?

Some people are nervous about asking for a sample edit but most editors are happy to provide one. We usually limit it to about 1,000 words, which should show up any major issues that are going to come up in the job as a whole. I use Tracked Changes in word or marked-up PDF as appropriate, and I also send back a skeleton style sheet detailing the decisions I’ve made so far, so you can see how I work.

It’s a good idea to send your sample text from the middle of the work in question. You will typically have gone over and over the start of your manuscript, but not paid so much attention to later sections. A section from the middle will offer a truer representation of the level of editing needed.

Asking for quotations from more than one editor

It’s of course fine to do this, and good practice, as I would do when engaging a plumber. There are some other elements of good practice here, though:

  • It’s polite to let an editor know you have asked other people for quotes and may need time to make your decision
  • It’s not polite to play editors off against each other. Editing is quite a small world, and if you claim to Editor A that Editor B has offered a very low price, well, they might just know each other and check … Be honest and fair as you expect others to be fair to you
  • Let the editors know when you are going to make your choice
  • Let the unsuccessful editors know the result, as well as the successful one

This last point is really important. If I’m negotiating with a client on a job, I’ll be holding open a slot for that job for the time frame we’ve been discussing. It’s only fair to let me know if you don’t want to book my services, so I can accept another job in its place.

Choosing an editor or proofreader is a whole topic in itself. You need to feel comfortable with them and they need to work in your subject area or genre. You might think I’m great, but however lovely I am, I’m just not going to be able to edit your horror novel! It’s fine to look at references (a good editor will have references or testimonials on their website) and to discuss how they would approach your book. It needs to be a good fit from both sides. If I don’t think I’m a good fit for you, I will usually be able to recommend on someone who will be more useful, but an editor’s ability to do this does rely on the networks they’re in.

Booking in your editing or proofreading project

So, you’ve chosen your editor, you’ve told the ones you don’t want to use that you have no need of their services. Now you’ve got a slot and a price that you’ve accepted. These are the next stages:

  1. Signing a contract or accepting terms and conditions in writing – I ask people to do the latter, but will create a formal contract if one or other of us thinks it’s necessary. Make sure you read all the terms and conditions carefully and ask about any you’re not sure of.
  2. Maybe paying a deposit in advance if your editor requires it.
  3. Submitting your work.

Now, most editors and proofreaders understand that the date you think you’re going to have your work completed isn’t always the date you’ll have it completed. Even if you think you’re ready, something might come up. If you’re using the booking to force yourself to finish the job (and there’s nothing wrong with doing that in principle!) then something might come up.

The golden rule for me is: it’s fine if you get delayed, as long as you let me know.

If you’ve booked to send your work to your editor next Monday and it’s Friday and you’ve not finished, then let them know. Preferably let them know before that, so they can book another job into the space. Let them know when you think you’ll be ready, and update them. As I mentioned above, most editors have more than one job going on at the same time, so it should be possible for your editor to shuffle work around to leave your slot open in a week’s time, say. However, if you don’t let them know and don’t keep them informed, then suddenly expect them to edit 100,000 words for you with no notice and a month late, they simply might not have the time in their schedule to do that!

Don’t miss your slot: if you get delayed, let your editor know as soon as you can.

Negotiating and booking in with an editor or proofreader

This article has given you, the author or writer, some hints on negotiating with editors and getting your job booked in with them. Everyone works slightly differently, so I’ve tried to keep this as general as possible, and based it on my own practices.

If you’ve found this article useful, do please comment and share using the buttons below! Thank you!

Other useful articles on this website

Working with an editor 1: How do I request a quote?

Do I need editing or proofreading?

Working with Tracked Changes

What is a style sheet?

On completion of your edit, will my manuscript be ready for publication?

 

 
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Posted by on December 7, 2016 in Copyediting, Ebooks, proofreading, Writing

 

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Working with an editor 1: How do I request a quote from an editor or proofreader? #amwriting

handshakeA large number of people get in touch with me every week to ask for a quote for editing or proofreading. I’ve put together these guidelines for contacting me for a price and turnaround quote, but it would apply to most editors and proofreaders I know, with a few tweaks here and there.

Sending me all this information in one go won’t give you a price decrease or a quicker turnaround if we end up making an agreement, but it will make the process easier and quicker – for both of us.

What does your prospective editor need to know?

This is what I need you to send to me in order to be able to give you a fair price and turnaround quote:

  • Is the material a book or something else (a website, advertising material, etc.)?
  • If it’s a book, is it fiction or non-fiction?
  • What is it, generally, about? (I have a list of things I don’t work on in the Content section of my Terms and Conditions – it is really helpful if you look at that first and check)
  • How long is the book – in words?
  • Is it finished and ready for editing yet?
  • When will you need it back from me?
  • What do you want me to do – editing or proofreading (see the distinction here, or the summary below)
  • A sample of your work – preferably from the middle of the book

Other editors might ask for other information at the first stage (if you’re an editor, do add a comment if you have other questions you ask – I’d love to know!)

Why does your editor need this information?

I need this information so I can work out

  • Whether I am the best fit for editing your book (if I’m not, I usually have someone I can recommend you on to)
  • Whether I can fit your project in to my schedule (I’m pretty busy with regulars and pre-booked work, so it’s unlikely although not impossible that I can fit you in at short notice)
  • What is a fair price, given the time it will take me to do your editing or proofreading
  • What is a fair turnaround time, given the scope of the work (with relation to the work I have in my schedule already)

I think that any editor would give the same answers.

A note on timing

Good editors and proofreaders get booked up quickly. If you have any idea of when your book will be ready for editing, start looking around for editors then, not a week before you want to put it out there.

For one thing, once you’ve had your book edited, that doesn’t mean it’s immediately ready for publication (see this article on that topic).

For another thing, your editor is likely to have other projects going on and will need to slot you into their schedule. The further in advance you ask them, the more likely they are to be able to fit you in.

I will never mind a vague estimate for a few months’ time, followed up by a firming-up process when we agree when the manuscript will arrive with me and when I’ll return it.

A last-minute request might work, but it’s much better and likely to be successful if you plan in advance.

Quick check: what service do I need?

Although this doesn’t quite fit in here, this is the issue that I have to clarify most frequently, so here’s what I send back to prospects explaining what I do – it’s useful to have a think about this before you contact me and decide what you need to be done:

I provide an editing service for fiction and non-fiction books and other texts. This will cover identification and resolution of

  • typos
  • spelling mistakes
  • punctuation
  • grammar
  • sentence structure (repetitive structures, etc.)
  • wording (repetitive word use, etc.)
  • consistent spelling / hyphenation / capitalisation throughout the text
  • comments where wording is unclear and suggestions about changes

This is typically done in Word with Track Changes turned on.

Substantive editing includes all of this plus suggestions on major changes to the format, ordering and content of the book.

My proofreading service looks at the manuscript once it’s ready for publication and checks for:

  • typos
  • inconsistencies
  • layout (including headings separated from text, page numbering, etc.)
  • matching contents page with headings and page numbers

This is typically done in PDF using comment balloons to mark up the text

Sending the correct information to an editor

This article has explained what information I need in order to provide a price and time turnaround quotation for editing your book. Other editors might need other information, and I’d love them to let me know if that’s the case. Hopefully this will make the process smoother for the author and the editor in those early stages of creating our arrangement.

Read the next article in this series: How do I negotiate with an editor and book my project in?

Other useful articles on this website

Do I need editing or proofreading?

Working with Tracked Changes

What is a style sheet?

On completion of your edit, will my manuscript be ready for publication?

How do I negotiate with an editor and book my project in?

 

 
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Posted by on November 30, 2016 in Copyediting, Ebooks, proofreading, Writing

 

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Can I edit what I am not? Editing outside your direct sphere of knowledge

DictionariesThis year so far, I’ve worked on, among other things, a book about Black history in the UK, incorporating a number of responses in prose, poetry and rap which reflected the spoken norms of inner city youth; a project about (very) experimental architecture; and a book giving advice to gay men on dating and relationships. I’ve transcribed interviews with bands I know nothing about, and I’ve localised texts about items I’m never going to use. As a straight, white woman who is not an experimental architect, doesn’t follow those bands and is unlikely to use a remote-controlled helicopter, should I have engaged with these texts where I was quite clearly the “Other” in the relationship or knew little about the topic? Or should I stick very closely to what I know?

I think it’s fine to edit and otherwise work on texts that are outside your direct experience, as long as you’re flexible, keep the audience in mind, are willing to learn and keep an open mind. I also think that there are limits to what you can work on, and I’ll talk about that, too.

Why I think it’s OK to edit outside your direct experience

It’s my personal opinion that it’s OK to edit texts that are outside your direct experience, as long as you bear a few things in mind.

  • Be flexible. The language of an inner-city rap poet might not be the same as your own casual register, let alone the register you use for formal academic writing. Think about the conventions of what you’re working on, not your own preconceptions, go with the flow and keep things consistent and clear (which is the editor’s mantra anyway)
  • Be open-minded. The advice given in a dating book on apps for hooking up with people might be way beyond your comfort zone as a happily married, middle-aged woman, but that doesn’t mean you’re right and it’s wrong, or bad, it’s just different. Which leads on to …
  • Think of the audience. What will the readers of this book want? Is the relaxed style with all the I’d and should’ve contractions something that they will feel more comfortable with? Leave those in.
  • If you’ve got a good amount of life experience and a solid general knowledge, that will see you a long way into an unfamiliar topic.

Why I think it’s positively GOOD to edit outside your direct experience

The good editors I know are wise in knowing what they don’t know and seeking to expand their knowledge. They love to learn. What teaches you more than grubbing around in the very innards of a text on something you never even knew existed? There are other positives, too.

  • By approaching the text as the “Other” (while retaining a sensible approach to the privileges you might have as someone who is not usually the “other”), you might be able to suggest subtleties or pick up on attitudes that are going too far the other way. Maybe you can help reassure an author and their readers that people outside the core audience DO understand / empathise.
  • More importantly and commonly, the aim of all writing should be to be clear and express its author’s intentions clearly. So if you, as an outsider, don’t understand the text, maybe it does need to be simplified a little. If I don’t understand something on the second or third go, I’ll pop a comment in the margin that this might need to be clarified.
  • I think I have a tendency to edit better and more carefully when I’m working on something slightly unfamiliar. It’s like editing your own writing: if you really know the topic, you tend to see what you expect to read, and may skim over errors. I know I have this propensity, so I work extra hard on texts on known topics, and try not to enjoy the process too much at the expense of doing a good job!
  • You learn all sorts of things that might be useful in your everyday life, the next thing you edit, or even pub quizzes. Your next client will benefit from that extra knowledge (or maybe the one after that – I edited a load of texts on Agile working a few months ago, so can cheerfully say I know all about it when another prospective text comes in).

When I think it’s NOT good to edit outside your direct experience

There are some occasions when I do think a text is best left alone. Complete incomprehension of a technical topic or genre is not going to make for a good editing process. I pass those jobs along to a colleague (and get some co-opetition karma in the process). Examples in my own work of jobs I’ve turned down have included:

  • A book all about optimising your motor vehicle engine use, with lots of diagrams and examples. I know nothing about this, and there was little value I could add to something so technical.
  • A localisation job where I would have had to research European legislation on a topic I knew little about to start off with, and match it up to US legislation. That’s too dangerous to mess with.
  • Editing novels in genres I am not familiar with myself such as romance and science fiction – you do need to know your genres if a book is to be edited to fit into them. I’ve actually pretty well stopped working on fiction apart from the odd thriller for an on-going client, as they are pretty well all in genres where I know someone else will do a better job.
  • Specialised transcription – medical and legal in particular. I’ll cheerfully type about makeup I don’t wear or economic policy that can be checked easily, but I don’t go near the specialised terminology used in medical and legal transcription.

In summary … in my opinion, it’s good to stretch the boundaries of the areas you work on and to edit and otherwise work with texts on topics that are unfamiliar, unless the level of technical or specialist content is high enough that you are floundering and uncomprehending. In that case, there’s always someone who  knows more about the topic that you can pass it on to. Happy learning!

What are your thoughts on the subject?

 
 

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Using a style sheet – for editors and proofreaders

DictionariesA little while ago, I wrote an article explaining what a style sheet was, mainly for my own clients, so I could send them a link when I sent their completed work and style sheet to them.

It struck me, though, that it might be useful to write about style sheets from the perspective of the editor / proofreader as well (I’m going to use “editor” to refer to both here, for simplicity, unless I’m distinguishing between the two).

I assume this will primarily be useful for people new to editing who are picking up tips from those of us who have been in the game a little longer. But whoever you are and however long you’ve been editing, do pop a comment below if you have anything to contribute!

What is a style sheet?

A style sheet is a list which spells out how things are to be done when writing and/or editing a text, including information on spellings, hyphenation and capitalisation, referencing and special information. Its aim is to keep texts consistent.

When you’re an editor, you will encounter three types of style sheet:

  1. Style sheets you receive from someone earlier in the process or general ones prepared by particular publishers, journals, etc.
  2. Style sheets you create yourself as you work on a project
  3. Style sheets created by the previous editor when you’re taking over a job or doing the proofreading for something that’s previously been edited (this is unfortunately rare, in my experience)

All three types serve the same purpose: to record the style decisions (more on this later) that have been made in order to keep the look, feel and detail of the text or texts consistent.

When you’re creating a style sheet, it might only be for a single use, for a single client (e.g. a PhD student). When one is created by a journal or publisher, it’s usually so that their “house style” will be consistent across publications and journal issues. But the idea is the same: it’s a tool that’s used to keep things consistent.

What do you mean by “style decisions”?

English is a funny old language. Even if you’re adhering strictly to one of the major style guides, (Chicago Manual of Style, Oxford Style, etc.), you will find there is still room for choice in some aspect of your text.

An example where even Oxford didn’t tell me what to do: I was editing a set of articles which included lots and lots of words and phrases in a different language to English. Each then had the English translation in some form before or after the foreign word. Of course, the articles were all written by different people who had used different ways to express this (word in italics / non-italics / double or single quotation marks and English in parentheses or not, italics or not, quotation marks or not). I was looking to make this consistent … but after some rules on what to do, Oxford told me to choose a way I did this as long as it was consistent!

There will also often be individual names, phrases, etc. in the text you’re editing which will need to be set out in a consistent way, which might not have rules.

An example where there can’t be any rules: your client has lots of interviewees and they’ve referred to them with a code to ensure anonymity. Do they put Respondent OH1, just OH1, OH-1, (OH1), [OH1], etc., etc.?

Although a client a while ago said that his first editor “kept it all in his head”, I prefer to note all of this down so I have it to refer to and keep things consistent.

What does a style sheet look like?

I’m sharing here an example of one of my own style sheets. Note that I have a little explanatory note at the top to explain what it is.

You can see that I set out the most common things that can differ (in my experience) and need noting down – s or z spellings, how the paragraphs are set out, how the headings and figure / table titles are set out, etc.

style sheet 1

In the second half, I go on to dates and numbers, how references are laid out, and some specific things to do with the particular text I’m working on.

style sheet 2

I find that a publisher’s style sheet is set out in the same way, although it might sometimes be online or a pdf with links.

If I’m working on a text destined for a particular publisher or journal article, if their own style sheet is very long and my text is quite simple and doesn’t need all that detail, I’ll often summarise the parts I need on my sheet anyway.

When should I set up a style sheet?

I set up one of these for any text that …

  • Isn’t for a publisher or journal that has its own style sheet
  • Is for a publisher or journal that has its own style sheet but that sheet is very long and complex and I can use a summary
  • Is more than a few pages long
  • Is being sent to me chapter by chapter (this happens with PhDs I work on)
  • Is going to form part of a larger body of work or a series (e.g. the regular publications of an organisation
  • Is being worked on with a colleague – this is quite rare but does happen

When and why should I send a style sheet to my client?

I pretty well always send the style sheet to my client along with my completed work.

I typically send it with a note in the email directing the client to my explanatory article, as I’ve found that most of my clients haven’t come across this before (I happen to work with a lot of students and self-publishers, as well as translation agencies; your experience may differ if you mainly work with publishers).

I will send the style sheet to my client if …

  • They’ve asked me a lot of questions about grammar and wording issues before we start (I will probably pop down the standard hyphenation and capitalisation rules on it if that’s the case)
  • They are likely to add to the text (for example if I’ve pointed out gaps or missing references)
  • They are sending me their work chapter by chapter – sending the style sheet with the first chapter can often nip certain issues in the bud, the client learns from it and they’ll be more consistent in the next chapter (I’m always so happy when this happens!)
  • They plan to send me regular publications, etc. – if they didn’t have a style sheet I provide one for their writers to use, making my work easier and less time-consuming and meaning they have less to correct
  • It’s a substantial document (more than a few pages)

Hopefully, having a style sheet from me will mean that the client will keep things more consistent in the future.

I do also mention that they should send this on to their proofreader if they’re planning to use one in the next stage of publication. This saves their proofreader from busily changing all the Chapter Ones to chapter 1 (or at least it explains that it was an active, considered choice on my part, and not an error).

Making changes to a style sheet

If I send my style sheet to my client mid-way through a project, for example with their first PhD chapter, I ask them to look through it carefully and let me know if there’s anything they’d like to change or they’re not happy with. Sometimes in this case I ask them questions (e.g. “You’ve used ‘Interviewee RD1’ and ‘RD1’ in equal numbers in your text; which one would you prefer to use throughout it?”). If they give me feedback, I record that, or if they ask to change something and their change does actually defy a stated grammar rule I will explain why I can’t.

Working with an established style sheet

If the text I’m working on is destined for a publisher or journal that has a full style sheet, I will of course obey that to the letter, to make things as easy as possible for the in-house editor or designer. Even if that means leaving footnote numbers before the punctuation, something I don’t like to do (but some publishers prefer).

If I’m proofreading a text that someone else has already edited, or I’m working on for example corrections in a PhD that someone else has worked on, I will use their style sheet to guide the changes I make. Even if I don’t approve of their decisions personally, as long as they don’t defy a rule of grammar, I’ll keep it consistent (even if I have to move a footnote number to before the punctuation!). I aim to make as few changes as I can at the proofreading stage, in order to keep corrections (and the chance of new mistakes creeping in) to a minimum.

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I hope this post has been helpful and given you some more information about why we use style sheets, where they come from, setting up your own one and working with your style sheet with your clients. Do pop a comment at the bottom or like and share this article if you’ve found it useful and interesting!

Related posts on this blog

What is a style sheet? For people working with editors

 
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Posted by on February 4, 2016 in Copyediting, Organisation, Word, Writing

 

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What is a style sheet? For people using editors

DictionariesIf you work with a proofreader or editor on any project, either for a publisher or working independently or as a student, you might receive a Style Sheet from them with your corrected work. This article explains what a style sheet is, the purpose of a style sheet, and what might be included on it. I’ve also written this article to send to my clients so they understand what the document I’ve sent them is – so if you’re one of my clients, hello!

To make this article easier to read, I will refer to the person who has worked on your document as your “editor” – although I might refer to proofreaders in some places, too.

If you’re an editor or proofreader who wants to find out more about style sheets, I’ve written an article just for you, too.

What is a style sheet?

A style sheet is a list setting out the decisions that your editor has made on aspects of the layout and language of your document, in order to keep the document consistent.

It might include notes on what font is used, whether the text is left or fully justified, how particular words are capitalised or hyphenated, how much indent your indented quotations have, what is put in italics, etc. We’ll have a look at an example later on, but that’s a very short summary.

Why use a style sheet?

Especially if you’ve learned English as a second or other language, you will know that the English language is not consistent, and it doesn’t even have proper rules for some things! This can be really frustrating, as two people might do things in two different ways, BOTH of which are correct.

For example, in English …

  • we can use -s- spellings or -z- spellings in words like “organisation”
  • we can capitalise or not capitalise words like Chapter 1 or experiment 2
  • we can use orient or orientate
  • we can hyphenate or not hyphenate pairs of words like policy-maker

And that’s before you get to decisions like …

  • are you going to use 20%, 20 per cent or twenty per cent?
  • are you going to describe America as America, the United States, the US, the USA, the U.S. etc. etc.?
  • are you going to use double inverted commas for quotations and single inverted commas for concepts, or vice versa?
  • are you going to refer to other research as (Brown, 2003; Green and Jones, 2005, p. 23) or (Brown 2003, Green & Jones 2005:23) or any other variant

Now, the important thing with all of these is to keep it consistent.

Some of these rules might be set down in a style guide or referencing guide (see below). But whether you and your editor are working to a style guide or not, it’s useful to have these decisions written down in one place for you both to refer to.

What’s the difference between a style guide, a referencing guide and a style sheet?

A style guide is a specific guide to how to deal with things like the above decisions – famous ones include Oxford Style in the UK, APA Style and Chicago Manual of Style and AP Stylebook in the US.

A referencing guide is a specific way of writing out references to work you are talking about in your dissertation or book – an example is Harvard referencing.

Some universities and many publishers and marketing agencies etc. will have their own guides which documents published under their name or submitted to them will have to have.

In this case, I could do without a style sheet and just refer my client to … well, a massive website or a giant book. Maybe not. In that case, I’ll note which style guide or referencing system I’ve used and still write out any important points which will impact the document in question.

Please note that I (and I imagine most editors) have favourite style decisions – I prefer orientate to orient, for example, and where there is no clear preference in the text, I will go for my preferred option. If, however, the text itself has 33 orients and 2 orientates, I will go with the majority.

This also means that some parts of the following examples might jar with any editors reading this – they are only examples!

What does a style sheet look like?

Here’s an example style sheet with some of the decisions I might make …

style sheet 1

This is a standard style sheet – I tend to go from the general (the whole layout, all quotations, the tenses used) down to the particular …

style sheet 2

What should I do with the style sheet my editor has sent to me?

Good question – now you understand why your editor has sent you a style sheet and what it’s for … well, why does it matter and what should you do with it?

Here are some important uses of the style sheet:

  1. It will help you to understand some of the changes your editor has made.
  2. If your editor has just edited one chapter, they might send you the style sheet with that chapter and ask you to look through it and check you agree with everything on it. They might even send over some queries – if it’s not clear which option my client prefers, I will highlight the choice and ask them to look at it. If you don’t agree, let them know straight away, then they might change it if it’s not a rule of grammar that can’t be flexible.
  3. If your work is going to be edited by more than one person, they will share a style sheet to make sure it is edited consistently.
  4. If you are planning to add to the document, you can make sure that any additional text you write is consistent with the text that your editor has already checked.
  5. If you have been through edits and your document is going to be proofread, send the style sheet to your proofreader, then they will know what choices the editor has made, and will be able to look out for any errors much more easily.

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In this article, we’ve learned what a style sheet is, why it’s used, how a style sheet is different from a style guide and referencing guide, but backs them up, and what to do with a style sheet when you’ve been sent one, as well as seeing an example of one. I hope this helps you: do comment and/or share this article using the sharing buttons below if you’ve found it useful!

Other relevant posts on this blog

Style sheets for editors and proofreaders

 
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Posted by on January 14, 2016 in Copyediting, proofreading, Students, Writing

 

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How do I accept one reviewer’s changes in Track Changes in Word 2010 and Word 2013?

This article tells you how to view just one reviewer’s changes in Track Changes in Word (the screenshots are for Word 2010 and Word 2013 separately but this works for all version of Word, including Word 2003 and Word 2007). Once you can see the changes made by one editor or reviewer, you can delete the changes made by that one reviewer, leaving only the changes made by the other reviewers.

Why would I want to accept only one reviewer’s changes in Track Changes?

Recently, I worked on a document where I made all of my usual changes or comments, then the author responded and sent it back to me for re-checking. They hadn’t accepted my initial changes, but had told me in the email that they were OK. Because the document looked really messy and confusing, I wanted to accept all of my changes and just work with the author’s additions and amendments. Here’s how I did it.

Note, it looks slightly different in Word 2007/2010 and Word 2013, with subtly different terminology, so we’ll look at 2007-2010 first and then 2013

How do I see and accept one reviewer’s changes in Word 2007 and Word 2010?

Here’s our text, with comments and corrections by two reviewers, shown in two colours. What I want to do is accept the changes made in blue and just end up with the ones in red to review.

Word 2010 two reviewers

First of all, we need to show only one reviewer’s corrections. We do this in the Review tab, Track Changes area. Click on the arrow next to Show Markup and then Reviewers on the drop-down menu. This allows you to tick or un-tick by different names. IN this case, I want to interact with just the changes made in blue – the ones I want to accept. So I click on the tick box by the LB initials, to un-tick that box and only see Laura’s corrections:

Word 2010 show reviewers

Once I’ve done that, I can only see the blue corrections. Note that the red comment box has also disappeared. We only see comments and corrections by Laura, but the ones made by LB will still be there behind the scenes.

Word 2010 show one reviewer

Now I want to accept these blue changes. In the Review tab, Track Changes, I click on the arrow at the bottom of the Accept button and click Accept All Changes Shown (it’s important to pick this one – if I chose Accept All Changes in Document, all of the changes, hidden and visible, would be accepted).

Word 2010 accept changes showing

Now all of the blue changes have been accepted and only the comment by L[aura] is visible.

Word 2010 changes shown accepted

Just to prove that my corrections are still there, and in case I want to review those, we can view all reviewers by going back to Review – Track Changes – Show Markup – Reviewers and clicking in the box to tick LB:

Word 2010 show all reviewers

Now I can see the corrections in red and all of the comment boxes, and review them happily.

Word 2010 result

How do I see and accept one reviewer’s changes in Word 2013?

Here is our text commented on and corrected by two people. I want to view and accept the red changes made by Laura, then view my own ones in blue to review them (Yes, if you’re reading this all the way through, Word 2010 and Word 2013 chose the opposite colours for the two reviewers).

Word 2013 two reviewers

 

First we need to view only the blue corrections in order to accept only those ones. In the Review tab, Track Changes area, click on Show Markup then Reviewers. This gives us the option to tick or untick by each individual reviewer. Here, I’m going to untick LB.

Word 2013 show reviewers

Now we can just see Laura’s changes in red.

3 2013 show one reviewer

We can accept these changes by choosing Review tab – Track Changes area and clicking on the arrow at the bottom of the Accept button. Then, we choose Accept All Changes Shown (note, Accept All Changes will accept all of the changes, red or blue, visible or hidden: we don’t want that):

Word 2013 accept changes shown

Now all of the insertions and deletions have been accepted and we’re left with just the comment balloon:

Word 2013 changes shown accepted

To see and review the suggestions made in blue by me, we go back to Review tab – Track Changes area – Show Markup – Reviewers and re-tick by the LB:

Word 2013 show all reviewers

Now we can see all of the changes suggested by LB as well as the comments by both people.

Word 2013 one reviewer's corrections accepted

This is another one written when I had a specific need and had to go hunting around, so I hope you’ve found it useful. If so, please share using the buttons below or pop a comment on!

Please note, these hints work with versions of Microsoft Word currently in use – Word 2007, Word 2010 and Word 2013 all for PC. Mac compatible versions of Word should have similar options. Always save a copy of your document before manipulating it. I bear no responsibility for any pickles you might get yourself into!

This is part of my series on how to avoid time-consuming “short cuts” and use Word in the right way to maximise your time and improve the look of your documents. Find all the short cuts here

Related posts on this blog:

Track changes 1 – why use it, where can you find it, what can you do with it?

Track changes 2 – customising Track Changes

Track changes 3 – working with a document with tracked changes

Formatting comments balloons – everything you have ever wanted to know!

What to do if your comment boxes go tiny in Word – A common problem, hard to find the answer!

What to do if your comment box text runs right to left – Useful if you edit texts from Arabic authors

Changing the language in your comment balloons – From US to UK English and beyond …

 
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Posted by on April 8, 2015 in Copyediting, Word, Writing

 

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On completion of your edit, will my manuscript be ready for publication?

On completion of your edit, will my manuscript be ready for publication?
I was asked this question by a prospective client recently, and it seemed like a good opportunity to share the answer with the wider world.
So, if you send your novel or non-fiction book.article or chapter to your editor for copyediting (fiction writers might know this as line editing), is it going to be ready for publication once they have gone through it?
Well, to be honest, probably not. What you will receive from your editor is a document marked up with suggested changes and comments. You will need to go through all of these and undoubtedly action some comments or questions that they’ve given.

Going through your editor’s comments

Once your editor has gone through your document, it will come back with a range of different comments and suggestions.
To break these down, they might include all of some of the following:
  • Vital textual changes – you will need to go through these but will probably accept most of them – they will be based on grammatical, punctuation etc. rules, or will be picking up typos.
  • Suggested textual changes – Your editor should be striving to retain your ‘voice’ and to help you get across your points, ideas or story, and they might well suggest rearrangements of sentences, changes in word choices, etc. Some of these you might not accept, for example I have a client who doesn’t like semi colons, so I know they will reject any I add (of course I just don’t add them now!). Some might be a matter of style but will make the piece consistent (e.g. use of capitalisation and hyphens which is often inconsistent in texts I work on).
  • Style sheet questions – your editor should send you the style sheet they’ve built up while editing your work, which will list all of the choices that they’ve made (where there’s a choice to be made) in a separate document, alongside any terminology that they’ve made consistent, etc. This might, however, include questions – for example, if you have used “the chapter” and “the article” interchangeably and an equal number of times in your short piece, your editor might not know what its eventual destination is, and might leave a question in the style sheet for you to answer (that’s how I do it) – then you will need to make that terminology consistent
  • Comments and questions – there will be points at which your editor may suggest, for example, moving a section to a different chapter, saying something in a different way to make it more clear, or even marking a section that they find unclear and then suggesting that you rewrite it. You will then need to action those points yourself, moving or rewriting sections as necessary.

What happens next?

Once that’s all done, if you haven’t done so before, I suggest that you get some people to beta-read the book to give you their reactions and suggestions to the content, now that consistencies and the most obvious issues have been ironed out. You may need to do a bit of rewriting on the basis of their comments.
If the rewriting is substantial, it’s a good idea to have your editor look over either the whole document or just the sections that have been changed (I usually ask my clients to highlight the bits they want me to check in the whole document, so I can see where they sit in the work as a whole). And then you will need to go through the above process again.
Once that’s done, before you publish the manuscript, you will need to have it proofread to check that no additional errors have crept in and to ensure that it’s going to look good in publication (if you’re doing a print book, the proofreader will need to see a pdf of the final version, if an e-book, a Word document is often OK). This person shouldn’t be the original editor, because they would be too close to the contents, and you should send them your editor’s style sheet so that they know how certain things should be and don’t waste time changing them to their preference.

Once the proofreader’s comments come back, it would be very unusual if you didn’t have something to change. So, you will need to make those changes – and this might affect your book design, so you might have to have your book designer look over the whole thing again.

Then you might just be able to consider it ready for publication!

Related articles on this blog

Do I need editing or proofreading?

Dealing with Track Changes in a document

My work is being proofread – why do I need to use Spell Check?

 
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Posted by on February 26, 2015 in Copyediting, proofreading, Word, Writing

 

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