Eva van Emden
Freelance Editor and Proofreader
eva@vancouvereditor.com

January 26, 2012

Writing income for novelists

I just ran across this writeup by Jim C. Hines on his writing income throughout his career. Some things I notice:
  • This is the first year (at least in about four years) that his U.S. income was more than his foreign sales and royalties.
  • He still has a day job.
  • Short fiction isn’t a big source of income for him.
  • In 2010, e-book income made up about 3–5% of the royalties.
And while we’re on the subject, see Unasked-for Advice to New Writers About Money from John Scalzi, who made $164,000 in 2007.

January 20, 2012

Editors’ Association workshop on plain language

The Editors’ Association of Canada, BC Branch, will be putting on a workshop on plain language taught by Peter Moskos. Peter has extensive experience working as an editor and teaching. I’ve seen some examples of his plain language rewrites, including samples from a report to parliament and other government reports, and the improvement in readability is striking.

Place and time:
February 18, 2012 from 10–4 at SFU Harbour Centre, Vancouver

Early registration ends January 27.

January 15, 2012

Better than Great: A Plenitudinous Compendium of Wallopingly Fresh Superlatives by Arthur Plotnik

Oh, that word amazing—enforced by dropping one’s mandible on the second syllable and stretching out the MAYYY sound until a listener seems convinced. “I just ate the most aMAYYYzing cupcake.”
Better than Great Arthur PlotnikThe purpose of this book is to help people praise things more effectively, so it seems ironic that when I try to describe it, I’m struck with acute performance anxiety. It’s like being faced with the final exam, right now.

In Better than Great the always-entertaining Arthur Plotnik (see also Spunk & Bite and The Elements of Editing) turns his attention to the problem of what to say when you’ve said “great”—or “perfect,” or “amazing”—too many times already. Faced with the challenge, I tend to wimp out, myself—to go the understatement route. “It was pretty good,” I mutter. Lame!

Plotnik lays out the main categories of superlatives, separating the great from the sublime, the large from the intense, exploring the contradictions of baditude, and offers the reader a list of words to try out for each. Thus we have tyrannosaurian cockroaches and Niagaras of tears, and people who are so stellar they could carry water in a sieve. Your signature dish is pie-hole heaven, it’s so scarfable. That woman? A stoater; I’ve-fallen-and-I-can’t-get-up gorgeous. And who wouldn’t want to try a racy but quaffable red?

The appendices offer a few bonuses: a handy list for eponymous acclaim from Austenian to Zorroesque, with instructions for forming your own (is it Plotnikian or Plotnikesque?) and finally, to get you going, there’s the starter set of habit-breakers. It’s grea— wait, raveworthy!

So read this book and learn to blow the un-ignorable vuvuzela of praise.


Reviewed from an advance reading copy kindly sent to me by Viva Editions.

January 8, 2012

Author & Editor: A Working Guide

by Rick Archbold, Doug Gibson, Dennis Lee, John Pearce, and Jan Walter

Author and Editor: A Working Relationship

“There are books, even great ones, that make their way into print without ever being touched by an editor’s pencil, just as there are babies born without midwife or doctor. But they are not the norm and the dangers involved—in both cases—are considerable.”
This booklet outlines what an author needs to know about the publishing process. It covers the basics of manuscript acquisition, the decision to publish, contracts, how a publisher decides on the format and selling price of a book, the publishing schedule, and finally, it provides insight into and advice on managing the working relationship of the author and editor. It presents all of this information into a short (only 35 pages) and very readable package.

Where to get it

Publisher: The Book and Periodical Development Council, Toronto, Canada
Date: 1983
ISBN: 0130539260
AbeBooks
Vancouver Library

January 7, 2012

Standard rates for freelance editing jobs

How much can you expect to pay a freelance editor? How do you estimate a freelance editing job?

For freelance editors and their clients, estimating the cost and time for a project is an important skill. Here are some of the factors to consider when estimating a project, as well as some industry standard rates.

Freelance editing rates

Some suggested standard pay scales and productivity rates for editing:
  1. Productivity Rates in Editing (February 2011) from Catch the Sun (Canada, rates taken from U.S. source).
  2. What do editors charge? Some guidelines on productivity rates and billing from the Editors’ Association of Canada.
  3. Janet Mackenzie, the author of The Editor’s Companion (written in 2004), suggests that an editor who is competent according to the Australian Standards for Editing Practice is worth at least AUD 50 per hour (about CAN 53).
  4. Editorial Rates (updated January 2012) from the Editorial Freelancers Association in the U.S. A lot of people consider these rates to be low.
  5. The Canadian Centre for Studies in Publishing at Simon Fraser University offers editing services. This is their rate schedule.

Freelance indexing rates

The Indexing Society of Canada has a nice two-page writeup on rates for indexing services. This is helpful both for indexers and their clients.

Factors that affect editing speed

Difficulty of the material

The level of specialization and complexity of the document are important factors.
  • Is the material very specialized? Is there a lot of specialized terminology that the editor will have to look up or define a style for? Scientific, academic, and technical material (such as user manuals) takes longer to edit.
  • Is the formatting complex? Are there many levels of headings, figure and table captions, footnotes and endnotes, and citations to format?
  • Are there complex stylistic considerations such as mathematical formulas, other languages, units, currencies, etc.?
  • Is there a defined style for the document, or does the editor have to try to infer the style from the document itself? A style sheet can make the work go more quickly. On the other hand, long, complex, and contradictory guidelines can slow it down.

Current state of the manuscript

The state of the manuscript before editing makes a huge difference. The more errors the manuscript contains, the more time it will take to edit, especially if there are places where the meaning is unclear, or if the style and formatting are very inconsistent.

Clarity of requirements

Has the editing task been clearly defined? Has all the information needed to complete the job been provided? For instance for a stylistic edit, has the level and style of language to be used been specified? For a copy edit or proofread, is there a style sheet, and is it complete and consistent? Does the client respond quickly to questions?

But that’s more than my hourly rate in my salaried job!

A freelancer’s hourly rate is higher than a salaried employee’s rate for a comparable job because it reflects her total cost of doing business. This includes expenses that are included in a salaried employee’s compensation: A freelance business has some extra expenses as well:
  • Non-billable time spent finding work and handling administration.
  • Professional development: improving skills, staying up to date, and taking courses and certification exams.
  • Many editors need disability insurance, commercial liability insurance, and errors and omissions insurance.
There are various rules of thumb for how much loading a contractor needs to add to her hourly rate to approximate the pay of a salaried employee. I think I’ve heard everything from 25% to 150% on top of the employee’s rate. A simple rule of thumb for calculating a freelance worker’s hourly rate is to take the target annual salary and divide by 1,000.

These numbers can give you something to work with when you’re comparing the cost of freelancers to in-house employees. And if you see that you’re paying an unsustainably low rate for freelance work, you’ll know that you can expect a high turnover as your freelancers leave you for higher-paying contracts.