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Freelance Proofreading and CopyeditingProofreading and Copyediting Courses + TestsWebmaster comments: This was our very first original, in-depth report from 1999 which examines viable business ideas to operate from home. Updated and expanded for 2006, here we take a good look at the fascinating process of book publishing and the potentially lucrative rewards available to the successful freelance proofreader/copyeditor. CONTENTS ( Select a topic to jump to the appropriate section.) FREQUENTLY ASKED QUESTIONS (FAQs)
WHAT IS IT? REVIEWS
1. WORK AS A PROOFREADER.
2. INTRODUCTION TO PROOFREADING REFERENCE BOOKS A SHORT LIST OF TITLES CONSIDERED BY MANY TO BE THE ESSENTIAL READING/REFERENCE BOOKS FOR THE JOB.
What is it? back to contents
Every best-selling book you have ever read, every smash hit play or blockbuster movie you have seen, started life as an idea. To get their message across, an author has to transfer that idea to a substantive medium, usually paper - although nowadays it could just as easily be a word processor, voice recorder or computer disk.
Before it can be produced in a saleable form, the manuscript (typescript) has to be checked for various flaws and the appropriate amendments made. Detecting and correcting spelling and typographical errors, or adapting the text to conform to the publishing house 'style' are just a couple of examples of things that require the attention of the copy-editor and, subsequently, the proofreader.
What do I have to do?
Using a standard set of protocols and marking symbols, the copy-editor's job is to make whatever corrections are necessary, in accordance with the publisher's requirements, before the manuscript goes to the typesetter. At this stage, sets of 'proofs' are created, but, before the publisher commits to final production, these documents are given a final once-over by the proofreader.
And that's really all there is to it. Except, of course, that such an over-simplified description belies the reality.
Is it something I can learn quickly?
Like almost every other activity you can think of, what you get out is proportionate to what you put in. If you are willing to apply yourself to methodically absorbing the required techniques then, yes, you will become proficient in a relatively short period. From what I have read in preparing this report, though, the actual length of this learning curve depends largely on the pre-existing abilities of the individual; weeks rather than months for some; months rather than years for others!
Where do I learn?
A wide variety of options are available, ranging from various budget-priced 'how-to' manuals and books, to complete correspondence courses costing several hundreds of pounds. As a part of this exercise, we have acquired examples of four such products for review: two by direct purchase and two generously donated by their authors in response to an appeal for information.
Unfortunately, our budget (ha ha) didn't allow us to sample the more expensive end of the market, although we did invite a couple of correspondence course vendors to participate; one didn't respond and the other referred us to their web site.
Oh well, never mind. The aim of this report is merely to create a thumbnail sketch of the subject: a black and white pencil drawing, rather than oils. What we do have, however, should be more than sufficient to help you to 'get the picture'.
All four options are reviewed later.
How much does it cost?
Our review examples range from as low as £8.95 to just under £50, but as previously mentioned there are lots more expensive options out there.
For more precise details, read the reviews.
What special skills do I need?
Other than the knowledge to be gleaned from the tuitional material, you need to have a good command of English, be able to spell, and have an eye for detail. That said, you don't have to be a genius with words; your skill and confidence in your ability will increase with constant practise.
Are there any recognised qualifications?
There are no official credentials, as such, but membership of an accredited organisation like the Society of Freelance Editors and Proofreaders (SFEP) would do no harm. If nothing else, at least it shows that you are serious!
Some courses provide you with a certificate of competence on completion of their course, but whether it will help you get work or not is another story.
Are there any particular tools of the trade?
Just a few different coloured pens, a pencil, an eraser, a flat surface - the kitchen table will do, if needs be - and peace and quiet to concentrate on your manuscript. Come to think of it, a bottle of correcting fluid might not go amiss...to fix your mistakes! It will make your life a lot easier, too, if you obtain some of the standard reference works available. I've included a list below. It is neither exhaustive nor definitive but, as a novice, the more information you have access to, the quicker you will learn.
How much money can I earn?
None of the sources we checked agreed on the going rate for the job. The current 'official' rate - according to the National Union of Journalists (NUJ) - for copy-editing is £15 an hour, and £13.80 for proofreading.
However, in contrast, the SFEP quote figures from as low as £4 an hour to a ceiling of £12.
Will it make me rich?
Unlikely, but people's definition of 'rich' bears comparison to the length of the ubiquitous 'piece of string'. To a company executive on forty grand or more a year looking for a career change, the prospect may not be too attractive. But to another, the chance to earn fifteen or twenty thousand - or more - without having to leave the house might seem like paradise.
Who would use my services?
Estimates vary widely but, as a conservative estimate, somewhere in the region of fifty thousand books are published annually in the United Kingdom alone. Sooner or later each and every one of these titles goes through the copy-editing and proofreading process and, despite the advances of technology, the most reliable method of detecting errors is still apparently the traditional one: a pair of discerning eyes.
In case you doubt this, consider a few of the examples in some of the reviews below. Some of the things your computer spell-check program readily accepts can be classed as real 'howlers' and, although you and I would maybe fall about laughing, the publisher would probably tear his/her hair out at much the same rate as their firm's reputation vanished down the tubes!
So I think we can assume that the services of the copy-editor and proofreader will be required for the foreseeable future.
However, on a more sober note, just how much of that work is actually farmed out by publishers to freelance copy-editors and proofreaders is another story.
Where and how do I get work?
Okay, assuming you still feel - despite any of the foregoing negative vibes - that the job would be ideal for you, how do you actually go about getting some work? And where do you start looking?
The answer is simple, really: Pick a publisher and ask!
The trick is finding the right people to ask, and to do that you need to contact the publishing houses directly. Not all publishers use freelances, indeed a sizeable percentage carry out the work in-house. So how do you find the ones who do? Well, more than one of the products reviewed below furnish a list of publishers who they say have used freelances in the recent past.
For a complete list of all U.K publishers, including names, addresses, contact information and - of critical importance - the subjects they cater for, you need a copy of the latest edition of the Writers' and Artists' Yearbook. This inexpensive volume, incidentally, also includes details of American publishers - as well as the classified list of British Standard correcting marks, with a brief explanation of their use.
Is there any work?
Most definitely, YES! Whether or not you can get your share of that work is down to you. If you have attained a considerable mastery of the required skills, have a will to succeed where others might fail and can handle innumerable rejections before establishing yourself, you will eventually succeed.
Mind you, with determination like that, you might just as easily become a self-made millionaire in mail order!
What are the advantages?
The number of people who work from home in Britain is on the increase every year. They may decide to do so for a wide variety of reasons, which we don't have to go into in detail here. Whatever the motivation, there are lots of benefits to be gained by working from home, these are just a few of the obvious ones:
All you then have to do is reciprocate accordingly. End of story!
Working for somebody else has at least one attractive feature: regular pay. Unless you do piece work, your weekly income is more or less guaranteed to be what you expect, for the duration of the job.
When you become self-employed, you leave that 'security' behind you forever. Additionally, you now have to find enough work to enable you to earn a regular income, make sure you get paid when it is completed... and remember to keep enough to one side to satisfy the demands of Her Majesty's Tax Office!
As you will have gathered by now, get-rich-quick it ain't!
Is it for me?
Only you can answer that, but I hope that this report will allow you to make an informed judgement, answering at least some of the questions you may have had before.
My personal opinion is that if you have already made the decision to work for yourself - for whatever reason - and have no illusions over the difficulties ahead, then you could make a worse choice than to become a freelance copy-editor / proofreader.
Whichever choice you make, we wish you every success.
THE REVIEWS
To try and obtain a reasonably broad representation of the wealth of material available we contacted six vendors, four by letter and two by email. They were informed of the project and asked if they would like to participate and/or supply some review material.
The end result was that two sent us pricing information of their products (which we subsequently purchased), two donated review copies, one did not respond and one referred us to their web site.
Although a wider sample would have been ideal, particularly an example from the more expensive price bracket, we feel that there is sufficient information to convey a reasonably clear impression of the subject.
1. WORK AS A PROOFREADER.
You may have seen this one advertised in the Exchange & Mart, as we did. Ordering it was a two-step process, which involved sending an S.A.E for details in response to the ad and then forwarding payment in advance via an order form sent to us in the information pack.
Given the asking price, our expectations were similarly modest - and we weren't disappointed. What arrived was a soft-covered, A4 size booklet of less than thirty pages. Pages one to five consisted of a list of contents, a two-paragraph introduction, followed by a brief overview of the roles of both copy-editor and proofreader.
'What You Can Earn.' was the heading of the next section, although, curiously, no actual cash figures were mentioned. Strange, we thought, since their original ad says you can earn 'up to £12 an hour'.
The next seven pages were devoted to an overly drawn-out (in our opinion) description and illustration of the British Standard Institute symbols used by editors and proofreaders. Then followed a solitary 'worked example' containing about a dozen or so common errors.
Another three pages or so dealing with grammatical and spelling implications took us to page seventeen... Appendix 1. What, already?
So we finished with a glossary of terms, a list of recommended further reading, a list of 'Useful Addresses and Sources of Further Information' - all four of them - and finally a 'directory' of around fifty publishers.
In fairness, I suppose you could say that it - to quote the famous ad - 'does exactly what it says on the tin', but it could have been so much better. Even another four or five worked example pages might have made it seem like value for money but, as it stands, we wouldn't recommend it.
2. INTRODUCTION TO PROOFREADING
This one had us doing a double take! The front page had a different title but it was just a copy of the booklet from Walton Associates... except that the pages were held together by a single staple!
It was a quid cheaper than the other - but only because we responded early. We think it's probably one of these re-seller jobs being promoted by Walton Associates, or somebody similar. You know the sort of thing: 'Make your pile re-selling information. 5000 fantastic reports on one CD', or some such, though we could be wrong
Anyway, considering that it makes the original Walton version look brilliant, we say give it a miss.
3. FREELANCE PROOFREADING AND COPY- EDITING - A GUIDE.
Now this is more like it! Over ninety information packed pages written by someone who actually makes a living as a freelance. Writing in clear language, Trevor Horwood explains in detail the various stages of book production from the commissioning editor's desk to the finished product on the shelf of your local book store.
And all of this in the first couple of pages!
Then follows an introductory description of the work done by the proofreader and an explanation of the two types of British Standard proofreading symbols. BS1219 contains abbreviations for English words, while BS5261 consists of only symbols - making it suitable for international use. One or the other can be used, depending on the preference (if they have one) of the publisher, but never a mixture.
Much more involved than proofreading, a detailed description of the copy-editor's job is next. As evidence of the more complicated tasks, this explanation takes three more pages than that of the proofreader.
Computers play an increasing role in just about everyone's life these days and the publishing world is no exception. As Horwood points out, though, the development of the automatic 'do everything' machine is still some way off. Certainly, the advent of desktop publishing has revolutionised the industry and it will no doubt continue to evolve, but the computer has yet to be invented that can match human perception.
To your modern spell-check program, 'a hunter with a bear behind' and 'a hunter with a bare behind' are perfectly acceptable and sensible sentences, while conjuring up different visions entirely in the mind of the reader.
Similarly, another handy tool, the global correction facility, so useful for inserting blanket changes throughout an entire manuscript, can also be problematical. Global corrections to -ise or -ize endings could make somebody a prise idiot or have them prizing open a manhole cover!
A few more pages dealing with such things as societies you can join, training courses you can take to further your knowledge once you have acquired the basics, and the seemingly mandatory list of recommended reference books, leads us up to page thirty: Getting Started.
Time for the old reality check.
Although you don't need qualifications to become a freelance proofreader or copy-editor, publishers have no yardstick against which to judge your abilities or capabilities. Catch-22: It's difficult to obtain work without experience, and impossible to gain experience without work!
'Having defined the problem,' the author says, 'let's consider its solution - and make no mistake, the problem is soluble.'
The eight pages of practical advice that follow on things like how
to 'cold call' on publishers, submit your CV, handle your first assignment and various other approaches will probably provide most of the answers.
101 Potential Clients is just that, a list of publishers who are 'documented as having contracted work out to freelances'. In addition to names, addresses and telephone numbers, a brief note of the type of material published follows each entry. A nice touch, we thought, was the inclusion of a compliment slip in these pages directing us to the author's website, which contains updates to this constantly changing list.
And so, very soon, to the appendices - at least as important as other sections of the guide!
Appendix 1 is a list of the most common symbols used, taking up only one page as opposed to the padded-out version mentioned elsewhere. A couple of marked examples using both sets of symbols, a list of common errors and some contact addresses later, finds us at Appendix 4: Proofreading Exercises. And this is where Trevor Horwood's guide really comes into its own!
The next couple of dozen pages contain a series of exercises designed to test and increase your skills, with detailed instructions that allow you to use them to best advantage. By methodically working through them as directed you should soon be able to accurately self-assess your capabilities and decide if a new career as a freelance copy-editor/proofreader is a realistic prospect.
As the author says, though, a little knowledge is a dangerous thing and it would be wrong to assume that you have completely mastered the skills by using the guide. However, as a foundation upon which to build, it will help you to at least understand the basics and, as such, we highly recommend it.
You can order a copy of the guide by clicking on the title in the list of recommended reference books below, or direct from the author at: www.copyediting.co.uk
As well as further information about the guide and the author, the website also includes a sample proofreading test. Why not give it a go and get an idea of what it's all about?
4. A GUIDE TO FREELANCE EDITING AND PROOFREADING TECHNIQUES.
The first thing that strikes you upon opening it is the sheer polish of this package; it just oozes quality and professionalism. Even the fine-point blue and red pens - essential tools - are provided! The author, William (Bill) Critchley has an impressive pedigree - judging by the list of books he has worked on in recent times - and it certainly shines through.
The course, which also has a US version, comes in four parts: MS1/MS2/PS1/PS2. We'll examine each in turn, beginning, as Bill instructs, with MS1.
MS1
A high-quality, spiral bound manual of some 25,000 words, MS1 is your introductory guide to the world of copy-editing (he actually spells it 'copyediting', but apparently both versions are correct) and proofreading. Covering the basics of both disciplines in depth and in easily understandable language, it assumes no prior knowledge on the part of the student.
Essentially, MS1 covers the same ground mentioned in some of the other reviews but, usually, in much greater detail;
let's take spelling, for instance. Instead of simply stating that it is an essential prerequisite, we are given what amounts to a 'spelling revisited' primer, which leads us through the minefield of 'difficult' words and, by means of comparative lists of common errors, American spellings and simple tests, safely to the other side.
Punctuation (seventeen pages worth!) gets the same treatment, being classified as follows: full point; comma; semicolon; colon; paragraphs; quotations; quotation marks; apostrophes; abbreviations and contractions; parentheses and brackets; dashes; hyphens; double punctuation; ellipses; numerals; dates; measurements; question marks and exclamations; capitalisation; time and money; foreign languages.
PHEW!
Lists of foreign words, phrases in italics and roman face are provided as a ready reference, before moving on to a bewildering (at least to us) array of subjects, including: headings; numbering systems; bibliographical layout; figures and tables, and, eventually, the art of indexing. The sheer wealth of material is staggering!
Only now, after some forty odd pages, does the author introduce us to the proofreading symbols! And here, too, we get the 'Critchley' treatment: page after page of practical examples, explained in intricate detail. Finally, a few other points to consider before beginning the section on Getting Started: prelims; a note on 'lists'; running heads; making a list of queries; check-list for copy-editors; and check-list for proofreaders.
MS2
Getting Started is where we move on to MS2, a manuscript entitled: 'SANTORINI - A GREEK ISLAND'. Consisting of about thirty pages, the loose-leafed, double-spaced typescript comes already 'marked up' by the copy-editor, being a practical study aimed at providing a greater understanding of the subject. The author explains that typescripts are never stapled together page by page and that elastic bands (for proofs, too) are much more convenient. This, we feel, adds further authenticity to the course.
PS1
When you are thoroughly familiar with the principles and techniques explained in MS1, and so comprehensively demonstrated in MS2 - which, let's face it, could take quite a while - it is time to leave the copy-editing element aside, for the moment, and get your feet wet in the Santorini surf. Now you are going to tackle your first 'assignment' and correct the typeset PS1 proofs.
In the guidance notes relating to PS1/2, Bill explains, regretfully, that it has proved to be administratively impossible to fully mark up PS2 (the corrected proofs) in red and blue ink, in view of the time and cost. However, the first three pages are properly coloured, and a simple coding system used on those following. He emphasises, of course, that students should use the red and blue system throughout when correcting PS1.
We would make a further suggestion - and Bill agrees - that before putting pen to paper on PS1 you have it photocopied and use a copy instead of the original. That way if you make a mess of your first attempt (or attempts!) you will have a clean set in reserve.
Another way would be to use pencil only, using the coding method mentioned above, but considering the whole point of the course is to get you to use the proper colours for corrections, that would be defeating the purpose. Besides, there's all that rubbing out...
PS2
The final member of the quartet, PS2 contains all the answers - well, most of them. No peeking!
Seriously, the corrected and marked proofs enable you to compare your efforts against those of the expert. Don't expect to be perfect at your first attempt. Learn from your mistakes and try again; that's why we suggested the photocopies. As a further aid, a scorecard is provided among the end notes, allowing you to measure your performance(s).
MS1 Revisited
A considerable amount of time has passed. You've spent so much of it on the Santorini manuscript, you feel as if you've been there! But, finally, you're ready. What now?
Go back to MS1 and read the final episode: Getting Started for Real.
Crammed full of information - like the rest of the course - on things like: your plan of action; contacting publishers; rates of pay and invoicing, we close with, appropriately, publishing on the World Wide Web.
Also, in addition to the written material of the course, the author rounds off the package nicely by offering e-mail support for any queries that may arise. For further details - including a proofreading test - and ordering information, visit: www.freelancers.co.uk.
Highly impressive. Highly recommended.
OTHER OPTIONS
The reviews above represent only a fraction of the training options available. The SFEP offer a range of courses as do Chapterhouse Publishing. Check out their respective websites for further information:
www.sfep.org.uk
USEFUL LINKS
The National Union of Journalists
REFERENCE BOOKS
A comprehensive range of reference material is available to help you in your endeavours, but you don't have to break the bank on day one.
You should be able to buy what many consider to be the bare essentials showcased below for a total of around £30 - if you already have a decent, up-to-date dictionary. Then, as you progress - or as you can afford - you can think about acquiring some of the more expensive tomes. For pricing and delivery information, click on any of the titles underneath.
Essentials:
Writers' and Artists' Yearbook 2006
Now in its 97th edition, the Writers' & Artists' Yearbook is fully updated for 2004.
As well as a new makeover (better content layout, less cluttered and much easier to read) it includes UK proofreading symbols and a complete list of publishers in the UK - and many from the USA. An essential purchase
If you don't already have one, you need a good, modern dictionary such as
Firmly established as the best-known and most authoritative concise dictionary. This is a reissue of the revised tenth edition with a new rebranded jacket and title change to emphasize the association with the Oxford English Dictionary. The Revised Tenth Edition (2002) includes 200 new entries as well as a complete new set of appendices.
We all struggle at times to find the right word or phrase to enliven our writing (and broaden our vocabulary) so I recommend
The Concise Oxford Thesaurus as one of the best tools for the job.
This new edition (2002) provides comprehensive, reliable help for all writing needs - for letter writing, business writing, studying, creative writing and, incidentally, it's GREAT for solving crosswords!
or, alternatively
Roget's Thesaurus of English Words and Phrases is the one that started it all, so you can choose from the two mentioned or any other you think might meet your needs.
Other resources:
Freelance Proofreading and Copy Editing by Trevor Horwood.
As featured in our reviews
The Copyeditor's Handbook: A Guide for Book Publishing and Corporate Communications
This is a practical manual for newcomers to publishing and for experienced editors who want to fine-tune their skills or broaden their understanding of the craft. Addressed to copyeditors in book publishing and corporate communications, this handbook explains what copyeditors do, what they look for when they edit a manuscript, and how they develop the editorial judgment needed to make sound decisions.
Copy-Editing: The Cambridge Handbook for Editors, Authors and Publishers by Judith Butcher is the 'bible' on the subject, a bit more expensive but it's a 'must' buy.
The Oxford Dictionary for Writers and Editors Robert Ritter (Editor)
A one-stop reference with comprehensive and helpful advice on a very broad range of issues encountered when writing or editing, either professionally or whilst studying. A completely expanded, revised, and updated version of the first edition, it presents the house style of Oxford University Press, drawing on the experience of the Dictionary Department and the Press's in-house academic desk editors. It gives clear advice on common spelling difficulties, names of people and places, foreign words and phrases, abbreviations, as well as broader aspects of usage, including capitalization and punctuation.
Hart's Rules for Compositors and Readers...
Finding a copy of 'Hart's Rules' is not easy, because it's out of stock at Amazon.co.uk. We left the link for the moment. Why? Because if you pre-order it USED, they will try to locate second-hand copy for you.
If you don't fancy doing that, the next book on our list might be an altogether better choice.
This immensely detailed and eclectic second edition of The Oxford Guide to Style is a descendant of Hart's Rules for Compositors and Readers, first published in 1893. Inevitably the strict tone now nods a little more than it used to towards description of a changing language and has shifted slightly away from the unadulterated prescription of rights and wrongs...
And lastly...
The idea behind this series is to try and give you solid information on work ideas you may want to seriously consider as a home-based career. In the coming months we will be concentrating on a range of subjects that we think may be of interest.
So far we have covered Proofreading, Multi-level marketing, Virtual Assistants, Associate/Affiliate Programs and quite a few more. We have a considerable amount of research to do on lots more subjects so watch for details.
Meanwhile, if you have a pet subject you would like to see featured drop a line to
And finally, let us know what you think of this report. If you found it interesting - or useful - tell your friends; if you thought it was a load of rubbish, tell us at the usual address.
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