by Moira Allen

For many companies “information” is their most important product. Forget the myth of the paperless office; most offices are flooded with research reports, studies, white papers, marketing surveys, analyses, annual reports, reviews—enough paper to consume a small rainforest.

Ironically, despite the push to present information, many corporations have cut back on the staff needed to present it effectively. Editorial departments are often the first to feel the effects of “corporate downsizing”—and many corporations have found that it is far cheaper to hire freelancers on a part-time contract basis than to maintain a full-time, salaried editorial staff. That’s where you come in. With your blue pencil and an eagle-eye for typos, you can keep the information flowing (and even help make it readable). But first, it’s important to know how the corporate “editorial process” works.

In most companies, a document (such as a report) goes through several stages before it is published. First, a draft is circulated for management or peer review, after which the author may make changes or revisions. In some cases, that’s the most editing a manuscript receives; after incorporating management suggestions, the author may simply hand the piece to the nearest secretary to correct and print.

In an ideal world, however, the manuscript will then pass through several editorial stages, including:

Content Editing

A “content editor” addresses issues of content and style. To ensure that a document accomplishes the purpose for which it is written, a content editor usually reviews the material with the following questions in mind:

* Is the material accurate (to the best of the editor’s knowledge)?
* Is the material clear and easy to understand? (If the editor has difficulty understanding the document, a reader may have difficulty as well.)
* Is the material covered in sufficient depth? Does it adequately address the questions a reader would ask? Do some items need more explanation? Do some need less?
* Is the material presented in a logical, orderly fashion? Or do some items need to be rearranged or reprioritized?
* Are names and technical terms spelled correctly and consistently? Are the proper abbreviations and acronyms used (and used consistently)? Are technical terms and acronyms explained? (Often, a company may have its own style manual for acronyms, abbreviations, and technical terms.)
* Does the document conform to the company’s style manual, if any?
* Is the writing clear and effective? (The content editor may deal with grammatical issues such as awkward or run-on sentences, rambling prose, unclear phrases, etc.) Depending on company policy, the editor may rework sections, or provide suggestions for the author.

In some cases, you may be expected to have some background in the subject area of the document, so that you can determine whether material is presented effectively or accurately. In other cases, such knowledge won’t be required (though it’s always helpful!).

Content editors may work closely with authors—and many authors take exception to the notion that their work might need revision. Others are more than happy to dump a mess of incomplete sentences and half-finished ideas in your lap and say “Here, fix it!” Consequently, diplomatic skills may be as important as editorial skills!

Copy Editing

After the revisions suggested by the content editor have been made (or ignored), a document usually moves on to the copy-editing stage. A copy editor usually focuses upon:

* Spelling and punctuation (including hyphenation accuracy)
* General grammar issues, such as sentence structure, noun/verb agreement, parallel construction, etc.
* Correct word use (e.g., which vs. that, imply vs. infer, etc.)
* Consistent spelling (e.g., noting whether an author hyphenates a word in some cases but not in others, or uses different abbreviations or acronyms for the same term).
* Consistent use of numerical terms, numbers, dates, etc. (e.g., making sure that the author doesn’t say “11 PM” in one sentence and “12:00 a.m.” in the next.)

Whenever editorial changes and revisions are made to a document, a host of new errors may be introduced. One of the tasks of a copy editor is often to check the “original” against the “revised” document, to make sure that nothing has been inadvertently changed, omitted, or added. Similarly, a copy editor may review charts, graphs, and references for accuracy and consistency.

While it can be frustrating to copy edit a document that obviously needs a solid “content” editing, most companies don’t encourage copy editors to make substantive changes or suggestions about content or style. There are exceptions, but check before offering editorial comments.

A copy editor usually isn’t expected to have a knowledge of the subject matter. What is needed instead is a firm grasp of grammar—and the ability to explain (and defend) grammatical changes to the author. So brush off your grammar books, and be prepared to explain concepts such as “dependent clauses” and “sentence fragments.”

Proofreading

Proofreading is usually the last editorial stage. Unfortunately, it is also often the only editing many documents receive. Proofreaders are generally expected to check only for errors in spelling, punctuation, and format. Sometimes you may be permitted to correct blatant grammatical errors—but don’t count on it! Proofreaders also check charts and graphs—and since these are often re-keyboarded by someone other than the author, the proofreader may be asked to verify every number against the original.

A proofreader may also be asked to check a revised manuscript against the original, marked-up copy. Sometimes a proofreader will also be asked to compare two documents word-for-word (whether revised or not). Usually this task is unnecessary, being a holdover from the days when a typesetter would re-keyboard an entire text rather than simply reprinting a file—but some companies haven’t caught up with their own technology!

Proofreaders need no special subject knowledge, but an absolutely perfect command of spelling and punctuation, and a keen eye. You may also be asked to check spellings of technical terms. (If the terms are unfamiliar, try to obtain a relevant dictionary; fortunately, many scientific and technical dictionaries are now available online.) You will also be expected to be familiar with, and use, standard proofreading marks.

The Corporate Mentality

Editing for corporations is not the same as editing a book or magazine manuscript. In business, “quality” writing may not be nearly as important as conveying a particular idea, message, statistic, or product to a selected audience. Often, corporate editing means making tradeoffs in priorities, such as:

* Quality vs. Deadlines: Being “well-written” often isn’t nearly as important as being on time. Documents must be delivered to the client on schedule, or accompany a product shipment, or be on hand for the next board meeting—and nothing, including editing, can be allowed to delay that process. Unfortunately, documents are often written at the last minute, which means they may be handed to an editor at the 11th hour. At this point, a content editor may not have the luxury of rearranging ideas or paragraphs, a copy editor may not be able to correct stylistic flaws, and a proofreader may not be able to change significant grammatical errors. If you’re a perfectionist, beware: Sometimes the only influence you may have over a document is to make it readable.
* Author Power vs. Editor Power: Who has the final say over how a document is written? In some companies, power rests exclusively with the publications division (or a public relations department), which may have the authority to cut, edit, revise—or even block a publication that doesn’t meet its standards. In others, the power rests with the author, who can insist that a document remain untouched—even if it is riddled with grammatical errors. The ideal working relationship lies somewhere in between—but few companies are ideal!
* Soothing Egos vs. Getting it Right: Corporate officers often fail to understand that titles, degrees, and high salaries are no guarantee of writing skill. In addition, no one (especially someone in possession of those titles, etc.) wants to be told that they can’t write. The last thing you want to tell a hiring agent, therefore, is that you’re there to “fix” the work of a company’s top professionals. Instead, you should present your role as a “value added” benefit: You are there to make the already brilliant work of a company’s researchers, analysts, and experts shine even more brightly thanks to your polishing (and your willingness to handle the “menial” tasks of copyediting that those brilliant researchers shouldn’t have to worry about). Rates for corporate editing vary widely, depending on the size and geographic location of the company. Rates may also depend on whether you are offering your services as a content editor, copy editor, or proofreader. When pricing your services, therefore, keep the local rates and type of company in mind. Typically, pay begins at $18 to $25 an hour—and some companies don’t hesitate to budget thousands of dollars for a large proofreading job.

Keep in mind as well that financial officers have interesting ways of looking at hourly rates. For example, if you are a fast, efficient worker who charges $50 an hour for five hours, you may be considered “more expensive” than an editor who charges $40 an hour for ten hours. One alternative is to charge by the job instead of the hour, or by a more “tangible” measure, such as “per page.”

Facts don’t speak for themselves. They need someone to speak for them-and, quite often, someone to edit the words of that speaker. Once you convince companies that you can make them shine by making their prose shine, you’ll be on your way to developing a loyal customer base—and an excellent source of freelance income.

———————

Copyright © Moira Allen

By Terescia Harvey

Many requirements of a good critique partner vary from person to person, but some are important enough that you should always look for these characteristics in anyone with whom you are considering becoming partners. Building a good relationship with your critique partner is vital to maintaining a productive relationship.

What makes a bad critique partner?

* Is that her husband you hear laughing in the background when you ask her what she thought of your latest efforts?
* It takes two months to get back a 5 page scene you sent her. And even then the remarks are sketchy.
* Okay, let’s clear something up: Critique partners should make suggestions, not demands.
* And of course, when she demands you make changes, and then gives an example for you to follow, you fight an irresistable urge to laugh. Don’t all the how-to books say you shouldn’t use dialogue tags to describe character emotion?
* She can dish it out, but she sure can’t take it!

What makes a good critique partner?

* She never lets others see your work, even under the threat of torture. If you can’t trust each other, what’s the point?
* You read something she sends you and you are amazed. The witch writes twice as good as you do, even in your dreams.
* A basic grasp of grammar and punctuation never hurts, since one cannot always depend upon one’s own ability to tell a semicolon from a comma at three in the morning (one of the best times for writing, in my opinion).
* She is firm in her belief that you are a good writer, but she is never hesitant to point out ways for you to improve your craft.

Other considerations

Do you like this person? I mean, you don’t have to, and that’s a fact, despite what some people might say. However–and this is a big, big however–if you don’t like this person, the first time she (or he) gives you a critical analysis of your work that you don’t agree with, you will be tempted beyond belief to chalk it up to what you perceive as this person’s character flaws. So if you don’t like this person, think long and hard about taking her on as a critique partner. You have to really believe you will learn something from this person that you couldn’t learn from anyone else.

It doesn’t matter what genre or category your critique partner writes in. No, seriously, it doesn’t matter. What matters is what genres or categories your critique partner reads. You want someone who knows what your readers will expect, because let’s face it, romance readers have certain expectations, whether they’re regency period readers, romantic suspense readers, or Harlequin Blaze readers. If your story doesn’t meet those expectations, you aren’t going to have much luck (if any) finding a buyer for that book.

Don’t be afraid to try people out. No one (normal anyway) will mind if you want a trial period before you make a partnership official. It’s worth the effort and time involved to find the right person. When I found my current critique partner, the quality of my writing improved, and I started writing twice as much as I was writing before I met her–my competitive spirit kicked in (and having someone eagerly waiting for the next chapter sure didn’t hurt). And now, I can honestly say, my critique partner is one of the best friends I have.

Writing is hard work, and every good writer deserves one hell of a critique partner. So get out there and find one, and by the way, don’t be afraid to dump that critique partner from hell–just don’t forget to change your email address before you do it…

© Terescia Harvey