Archive for references

Freelancing advice from across the pond

What do freelancers in the U.K. need to know about running their businesses? Pretty much the same things we Canadians do. Here are two helpful new e-books by British freelancers.

Oku_book

Become a Freelance Writer: Your complete guide to the business of writing
By Rachael Oku; Harriman House, 2013; 52 pages
About $7 for Kindle and iBooks editions

London-based writer/editor Rachael Oku provides tips on setting up, promoting and running a freelance business. In a conversational tone, Oku covers networking, finding work, creating a social media presence, positioning yourself as an expert, pricing your services and much more. (Her list of common freelancing pitfalls is, on its own, worth the price of admission.) She also includes ideas that are likely more common in the U.K. than in Canada (such as selling ads on your site or creating a “media kit” with a list of your services and rates, a photo, clips, etc.).

Oku is well acquainted with the ups and downs of freelance life—she’s the driving force behind Creative-Bloc, a social enterprise/hub for writers, launched in 2012. (Disclosure: I’ve written a couple of blog posts for the site.) The wide-ranging topics and encouraging words of Become a Freelance Writer will be especially beneficial for new and aspiring freelancers.

harnby_book

Business Planning for Editorial Freelancers: A Guide for New Starters
By Louise Harnby in association with The Publishing Training Centre, 2013; 126 pages
About $8 for Kindle and Smashwords editions

Editors, there’s an e-book for you too. Author Louise Harnby has been a freelance proofreader since 2005, and she’s also the owner of the Proofreader’s Parlour, a blog for editors and proofreaders. Her e-book covers freelancing essentials such as business plans (yes, you need one), different types of editing, training, promotion, networking, working with clients, resources and more.

Written with absolute beginners in mind, the e-book also contains ideas for gaining work experience, as well as case studies featuring stories from other freelancers (including a Canadian editor). This detailed, practical guide is a great read for anyone hoping to bust out of a cubicle and into a rewarding and sustainable editing career.

Elsewhere in the blogosphere: The Story Board recently reviewed The Freelancers’ Bible, by Sara Horowitz, founder of American organization Freelancers Union. I can’t wait to get my hands on it.

 

 

Q&A: Heidi Waechtler

Photo of editor Heidi Waechtler

Editor Heidi Waechtler

McClelland & Stewart recently released a new edition of The Canadian Writer’s Market: The Essential Guide for Freelance Writers. To find out how the book is staying relevant to today’s freelancers, I checked in with Heidi Waechtler, the editor who updated it.

Can you tell me a bit about yourself?

I grew up in Vancouver and studied English at UBC. While working in communications, I completed an editing certificate through Simon Fraser University and began doing freelance editing work on the side. I was always interested in how editorial fit into the larger publishing process, and so after working for the Magazine Association of British Columbia for three years, I returned to SFU to do the Master of Publishing program. I moved to Toronto recently to intern in the editorial department at McClelland & Stewart as a part of my graduate studies, which led me to my current position as the publishing assistant at Coach House Books.

It’s been almost three years since the 18th edition of The Canadian Writer’s Market, updated by Joanna Karaplis, came out. How does the 19th edition reflect changes in the market since 2010?

One of my priorities for updating the guide was to give due attention to some of the business models and publishing platforms that have taken off in recent years, including publishers that specialize in e-books (such as Iguana Books), print-on-demand (e.g., Frog Eat Frog), and self-publishing (e.g., FriesenPress). The guide recognizes that in addition to applying for grants and awards, authors may seek to finance their writing through crowdfunding websites such as Indiegogo, or participate in collaborative publishing efforts such as those at Deux Voiliers, a small press where authors, editors, and artists pool their skills and resources to bring books to market. Certainly, there have been consolidations and closures in the market since the last edition of the guide was published, but many launches, as well; as noted in the introduction, there are currently almost 2,000 Canadian magazines listed in CARD Online, as compared to 2010 when there were roughly 1,800. (Users of previous editions might also notice the 19th edition also has a spiffy new cover design, by Andrew Roberts, that reflects changing technology!)

Cover of The Canadian Writer's Market

Can you tell me about the process of updating the guide?

I’d be remiss if I didn’t acknowledge the framework established by editors of previous editions, including Sandra B. Tooze and Jem Bates. At the outset of the project, I reviewed some of the statistics, reports, and information available through resources including The Writers’ Union of Canada, CARD Online, StatsCan, Masthead Online, Quill & Quire, and the Book and Periodical Council of Canada, to get a current snapshot of the industry. I also spoke informally with a handful of writers, as well as editors and educators, about how the book might be made more useful and relevant from their respective points of view. I then reached out to publishers and editors across the country to find out what kind of writing they’re looking for, how they prefer to receive it, and their rates and payment terms. Often, this information is not readily available on a company’s website, or it’s difficult to find, or outdated, and this is where a central reference helps make the researching and pitching process less opaque. I would suggest that to complement the information found in The Canadian Writer’s Market, writers would do well to attend networking events and participate in the discussions happening on writer-oriented blogs, listservs, and community forums to share information. I should note that I also had assistance from a former colleague, Rachel Geertsema, with updating the awards section of the guide.

The book has a rich directory of Canadian consumer, trade, business, farm and professional publications and newspapers, plus educational resources, writers’ retreats, literary agents, writing contests and grants, organizations and more. As you were researching, what did you find especially useful, compelling or surprising?

What I found most heartening, while doing the research, was the numerous venues for underpublished and emerging writers to get their work out there, including cultural and literary magazines that have launched in the past few years, such as Sad MagLester’s Army and Poetry Is Dead, and small independent presses such as The Workhorsery and Invisible Publishing. Corresponding with the staff at these organizations, and reading through their respective submission guidelines, I found their enthusiasm to be both palpable and infectious! Also, the sheer number of B2B magazines is impressive. We list nearly 300 in the 19th edition—everything from Canadian Pizza Magazine to Manure Manager to Canadian Funeral Director Magazine. B2B is a fast-growing sector, and although it can be a harder market to break into, your persistence, when combined with your passions, could pay off here.

There is no info about working for corporate clients, marketing companies or other agencies. Why doesn’t the guide cover this type of writing?

Indeed, opportunities abound to write for clients outside of traditional publishing channels, and these can be quite lucrative. However, the size and shape of this market is not readily defined—at least not within the scope of this particular guide. I would suggest writers interested in entering these markets connect with groups such as the Professional Writers Association of Canada, the International Association of Business Communicators in Canada, and the Canadian Public Relations Society. I would add, also, that writing for the professional and trade publications listed in the guide could potentially lead to other projects down the line.

As a freelancer myself, I feel like writers today need to arm themselves with a huge amount of information in order to make a decent go of it and protect our assets. The book’s introduction features sections about querying, copyright, taxes, libel and other topics. Based on your research, what are your top three tips for new freelancers?

1. Know your audience. I heard consistently from magazine editors that writers should avoid telling their readers what they already know, such as rehashing already-overworked topics or interviewing the usual suspects. Read several recent back issues to understand the magazine’s tone and focus, and consult their media kit and audience profiles.

2. Follow submission guidelines to the letter. I know this is obvious, but it bears repeating. Forgetting to enclose a SASE or submitting a whole manuscript instead of a query letter indicates to an editor that you might have trouble sticking to a word count or meeting deadlines.

3. Brush up on your photography skills. Even if their magazines employ professional photographers, many editors mentioned they were looking for high-quality photo support from freelancers. If you’re multimedia-savvy, you might also pitch video, slideshows, or podcasts as part of the package.


For more info about Heidi Waechtler, visit heidiwaechtler.com and follow @heidiwaechtler on Twitter.

Links on language

Image of piled-up wordsDid you know that the U.S. government requires its agencies to use plain language when communicating with consumers, businesses and other groups? The Plain Writing Act came into effect in July 2011, and the first-year report card is out. The Dept. of Agriculture scored highest, and the Dept. of Veterans’ Affairs flunked big-time.

There is no single prescription for plain language; in general, it’s language that’s easy to read, understand and use. Learn more from the Center for Plain Language, a non-profit organization whose motto is “Plain language is a civil right.” You can also visit Plain Language Association InterNational—founded in 1993 by a couple of Canadians. And if you’ve got an hour of down time, do an online plain-language course from the Federal Aviation Administration (random, right?).

Here at home, we have the Language Portal of Canada, which offers a wealth of tools, guides, dictionaries, databases and quizzes. The Translation Bureau website has recommendations for translators working with English and French, including how to handle web and Twitter terms. TERMIUM Plus, the government’s terminology and linguistic data bank, provides 17 tools for writers. These include The Canadian Style, a guide to written English in the Canadian context, and HyperGrammar2, a self-teaching tool for better grammar and punctuation. And, last but definitely not least, bookmark A Way with Words and Images, a concise guide to fair and accurate portrayals of people with disabilities.

Can you recommend any language-related websites? Share the links below!

 

Fracking wind chill!

CP releases 20th edition of Caps and Spelling

Cover of Caps and Spelling 20th editionFellow word geeks: Yes, it’s true, Canadian Press is releasing a new edition of Caps and Spelling, on April 25.  (And you can win a copy – details below!)

This handy little guide to troublesome, confusable and oft-misspelled terms has been a fixture on editors’ desks across the country since the first edition came out in 1965. Each book is also a snapshot of the prevailing concerns of its day. That first slim volume (just 46 pages) contained some words rarely heard today, such as “H-bomb” and “Churchillesque.”

The 19th edition of Caps came out in 2009, and it’s overdue for an update. “It’s constantly evolving, and a lot of that evolution has taken place over the last couple of years,” says James McCarten, senior national editor at CP and the editor of both Caps and Spelling and Canadian Press Stylebook. “It’s a living thing, a constantly changing document, and we have to try to keep up with that.”

Please forgive the longish blog post, but I couldn’t resist including a condensed and edited version of my recent Q&A with McCarten.

JL: What’s new in the 20th edition of Caps and Spelling?

JM: There are constantly new terms cropping up that we want to reflect, either driven by general usage in the public domain or by the news. The best example, the most recent, is “fracking,” which is short for “hydraulic fracturing,” a term we expect to see more. Another would be “bitumen,” the proper word for material that’s coming out of the oil sands and will be in the Keystone XL pipeline. These are things we’ve been talking about in the past couple of years and have earned their way into the book. They’re also words people are misusing – people refer to what’s in the pipeline as “crude oil,” which is not true. Opponents of the pipeline would argue it’s “bitumen,” which is much more problematic to have in the environment. It’s a germane point, and it’s significant from the point of view of telling a story accurately and fairly.

There are dozens of additions. Some are almost procedural: names for new MPs elected to Parliament that are potentially problematic. The i-words: “iPad,” “iPhone” and others; we used to only have “iPod.” “Keystone XL.” “PlayBook.” There was a fairly significant name change in the military ranks last year when the government decided to reintroduce the “Royal”: “Royal Canadian Air Force” and “Royal Canadian Navy.” Those are historical terms – 1968 was the last time they were proper names, and the government has reinstated them. We added “Tea Party,” which came into vogue in the last few years in the U.S. Western University has asked to be known as “Western University” instead of “University of Western Ontario.” Everybody refers to it as “Western,” and they wanted it to be codified as that. “Wildrose,” which we’re hearing about right now because of the Alberta election. One term we used to get requests for a lot was “wind chill” – it’s absurd that it wasn’t in there, given that it’s a Canadian book! People were never sure if it’s one word or two. We have it in there as two words.

“Zipline.” And “ebook,” “e-reader,” “e-waste” – those are all new. And interestingly enough, they are frustratingly inconsistent. That’s an interesting example of a term that has evolved over time but you can’t really apply a consistent model to it. Some are just more common that others. “ebook” and “e-reader” – one is hyphenated and one isn’t. The evolution of these terms is that they always start as two words and become hyphenated terms, and as the terms become more and more accepted, the hyphen disappears. That reflects our perspective on “ebook” and “e-reader.” “ebook” has no hyphen, but “e-reader,” it’s kind of awkward without the hyphen, so it cries out for the dash to be there, so we kept that. You have to consider how these words look and sound when you write them down. “Economic action plan” is another term that’s been added. It’s a term the government likes to use to describe its economic strategy. We don’t like to cap terms like that, so it’s lowercase.

Are there any interesting celebrity or pop culture additions? Maybe Justin Bieber? 

Part of the problem with celebrities is they’re fleeting. And I probably would get all kinds of rockets if I said that Justin Bieber isn’t going to be around forever! Maybe he’ll be a fixture for a long time, but you do have to be careful about creating these entries. You don’t want to add a bunch that you’ll just have to delete four years later.

What about deletions from the last edition?

We don’t track omissions or make them very often. We try to be careful with dropping terms – they’re usually in the book because someone’s had trouble with them. If they’re not making a lot of headlines, that doesn’t mean someone doesn’t need to refer to them. So we try to be more judicious about taking them out than putting them in.

How many terms are in Caps?

There are 4,420 current entries.

Caps and Stylebook are available online by subscription. Do you think there will be a time when you’ll stop printing the book?

Logically, I’d have to say yeah. I think cost is going to be an issue. It’s an evolving document, and the online tool is just so much more valuable in that respect than a static book. It’s also a searchable archive that allows you to punch in the word, and it can respond to different spellings of a particular term. So it’s just far easier to use, more effective and cheaper. That said, there’s always going to be a demand for a desktop version. Everybody loves that tactile experience of reaching for a book.

Have you thought of doing a mobile version?

Absolutely. And it’s a sort of newsroom resource issue. We’ve got a very small and very, very burdened IT department. Everything now is focused on reinventing the delivery system, the way we get our news to our readers, and the pace of change has been blinding in the past several years, and the IT department is racing to catch up. [Mobile] is definitely one area where we see some wonderful opportunities. AP is a really good example of a similar organization that has its own apps. Their stylebook app is very much a version of the online one. I definitely think that in the next few years, you’ll see [CP apps] emerge. It’s bound to happen – it’s just a question of when we can make it happen.

What does it mean to you to help shape these guides? I’ve always thought of words in Caps as being somewhat elevated, because they’ve been included.

It’s absolutely an honour and a privilege to be part of it. It’s my perfect, almost dream opportunity in a sense, because I’m particular about these sorts of things. I’m a style geek. The opportunity to make decisions on that score…I do it in consultation with colleagues and supervisors, and we probably don’t wring our hands about these decisions as much as we did in the old days because there just isn’t time, but…we take it seriously, and it’s very satisfying to have the opportunity to make things clearer for people – our staff, but our readers well. You get a lot of feedback from people who agree or disagree with your decisions. To see that level of engagement is gratifying, because in this day and age, it’s hard to know if these things are as important as you think they are, and to have that validation from colleagues on a regular basis is very satisfying.


Follow James McCarten on Twitter @CdnPressStyle “for occasional missives on the world of CP style.”

WIN A COPY of the new Caps and Spelling! I have two to give away, courtesy of editor James McCarten. Just leave a comment about Caps and Spelling below (deadline: Monday, April 30), and I’ll enter your name in a draw. 

Reading list for freelancers

Stack of books about writing and editingI often meet with aspiring freelancers to talk about what it’s like to be an independent editor and writer. After we meet, I email them a list of books on various aspects of the business. Here are my favourites. (A couple of these may be out of print, but try the library.)

The Renegade Writer: A Totally Unconventional Guide to Freelance Success by Linda Formichelli and Diana Burrell

Query Letters That Rock: The Freelance Writer’s Guide to Selling More Work Faster by Linda Formichelli and Diana Burrell

How to Write Irresistible Query Letters by Lisa Collier Cool

Secrets of a Freelance Writer by Robert Bly

How to Make Money Writing Corporate Communications by Maryclaire Collins

The Copywriter’s Handbook by Robert Bly

The Subversive Copy Editor by Carol Fisher Saller

And for those of you interested in writing fiction (and anyone looking for inspiration and motivation), I recommend anything by Natalie Goldberg; Bird by Bird by Anne Lamott; If You Want to Write by Brenda Ueland; and On Writing by Stephen King.

 

What are some of your favourite books about editing, writing or freelancing?