How do I get a job as a fiction proofreader?

What are the best ways to get a job as a fiction proofreader? This article offers some tips to freelancers who are new, as well as veteran editors looking to switch areas of expertise.

1. Begin with a baseline of training to become proficient in any editing field, whether fiction or not, training is the base. If you’ve been reading your favorite genres for years. You must be aware of the standards of publishing.

The issue is not one of snobbery. This is about serving your client in a fair and honest manner, particularly self-publishers who may lack experience in mainstream publishing to determine whether they are able to modify according to the conventions of the industry.

The reader is also a factor. They are savvy and frequently affixed to specific types of literature. They’re accustomed to browsing bookshops, while reading and consuming their favorite authors. They’ve got their own set of norms and expectations.

Our job as editors is to make sure we’re equipped to move the book forward and make it as good as it could be so that it is appropriate for readers and is able to meet their needs.

So if you’re planning to proofread or edit the fiction industry or independent authors, high-quality editorial training isn’t an option, it’s the standard.

The kind of instruction you require will depend on the services you intend to provide.

Courses
I highly recommend it. Publishing Training Centre as well as the Chartered Institute of Editing and Proofreading (CIEP) For basic learning in proofreading and copyediting. I’m in the UK as well, and these are the two companies that I’ve had experience with thus I’m able to suggest these companies.

This doesn’t mean others aren’t worth looking into. In fact, I wouldn’t suggest products that I haven’t tried. Maintain an open mind. Take a look at a wide range of vendors as well as their curricula for courses. Choose the one that best suits your requirements.

  • Essential Proofreading: Editorial Skills One (Publishing Training Centre)
  • Essential Copy-Editing: Editorial Skills Two (Publishing Training Centre)
  • Proofreading 1-4 (CIEP)
  • Copy-editing 1-4 (CIEP)
  • Also, check out this listing of professional editorial societies and they’ll be able to advise on your options if you’re not in the UK

If you’d like more details on how PTC as well as CIEP classes compare, speak to their director of training.

2. Choose which editing and fiction services you would like to provide
A few self-publishers are simply not aware of the distinctions between different types of editing This means that they could request something that isn’t the best for them (e.g. the quick review of a proofread even if the work hasn’t yet been reviewed or structurally edited, or lineand copy edited).

It’s crucial that the expert fiction editor can explain the levels of editing they provide as well as recommend the level of editing that is suitable for the writer.

It doesn’t mean that an author is bound to follow the suggestions however, the editor should be able to communicate her advice so that non-authoritative writers can take informed choices.

3. Put money into appropriate instruction in fiction
Next step is to develop proficiency and confidence in the work of proofreading and editing fiction. Like any other type or editing process, the kind of work that the editor is expected to modify, querying or reviewing will be contingent on whether the piece is written in a sentence or structure, as well as whether it is pre-published quality supervision.

What to do when deciding on which specialist fiction editing courses when you are looking to invest, bear your mind the following aspects:

  • If you’ve had previous experience in developmental editing non-fiction texts, it is not likely to transition effortlessly to the story level of editing with no specialist education.
  • Although you may be a skilled sentence-level editor of fiction, this capability will not render you qualified to provide criticism or editing of structural elements with no specialist education.

Reading and courses
Examine the information below to see what they can do to fill the gap in your understanding. Examine the curriculum carefully to be sure the classes are focused on the kinds of editing fiction you want to give as well as provide students with the understanding necessary to help you move further.

  • Moving from Fiction (Louise Harnby ) online course and book)
  • An Introduction to Fiction Editing (CIEP; class)
  • The Developmental Editing Fiction Theory (Sophie Playle, Liminal Pages; course)
  • Advanced Editing in the Practice (Sophie Playle Liminal Pages, course)
  • editing fiction (Publishing Center for Training, introductory module for e-learning)
  • Create to be published (Nicola Morgan (book)
  • The Magic of Fiction (Beth Hill (book)

4. Be in the right frame of mind
The process of editing fiction demands a certain mentality because of a number of reasons:

Voice and style
We’re not just praising authors, but character’s POV character(s) as well. A fiction editor who does not consider all the voices within a book is in danger of being a butcher.

The ability to fully immerse yourself into the writing world that the author has constructed is crucial to be able to it is possible to feel under the character of the writing. If we can’t be able to feel it, then we won’t be able to edit it with elegance and sensitivity.

Intimacy
Fiction is born of the author’s experience. Fiction comes out of the author’s heart and soul.

If this sounds unprofessional, I’m not going to apologize. A lot of writers with whom I work have anxiety when working with an editor since they’ve put their life, feelings and fears into the work they’ve created.

A good editor of fiction has to appreciate the importance that comes with being trusted with novels. If this doesn’t seem like your style, this won’t be the right fit for you.

Unreliable rules
A roundtable discussion on the subject of fiction, organized by the Norfolk section from the Chartered Institute of Editing and Proofreading The guest Sian Evans, a seasoned screenwriter and playwright, spoke about the way that punctuation in screenplays can be as an issue of ‘breaths which the character is instructed to take as it is the clarity of sentences.

The ‘breaths’ are present in prose. They assist the reader to make sense of the phrase … and not only in terms of grammar, but also emotionally. So the elimination or addition of one comma in the name of pranks can render the sentence seem correct or even standard, yet change the tones and tensions drastically.

The editor for fiction needs to be competent enough to transcend prescriptivism and look at the story to determine its emotion, ensuring the intention of the writer remains intact, but the reader is able to move effortlessly throughout the screen and be enthralled by the story.

It’s an extremely long approach to say that in order to be able to edit fiction in the future, and you keep getting it, you’ll have to break the rules and be creative!

Writing fiction requires us to take into consideration both style and readability. Both can be at times in conflict, so a delicate diplomacy and friendly hand should be available in your toolbox.

5. Fictional reading
If you don’t love reading fiction, don’t edit it.

If you’re not a fan of an author or subject, don’t change the book.

Editing a book you enjoy reading can be a pleasure, as well as is a benefit. If you’ve read lots of romance novels then you’re already conscious of the conventions of narrative that readers anticipate and love.

I first started reading crime-fiction as well as thrillers and mysteries prior to the time I reached my teens. In March, I hit 51 and my love for these types of literature hasn’t diminished. It’s about 80 percent of my daily work routine too. But here’s the truth reading for pleasure has helped my career.

I can see for myself how various authors deal with the plot, how they create and disperse tension and how they use punctuation, idiomatic language and length of sentences so that readers feel emotions, speed and a sense of the sense of immersion. It also allows me to edit more quickly.

Truthfully, reading fiction is the training to edit fiction. It’s by itself not enough. Professional training, however, isn’t enough neither. Learn it, love it and enjoy about it.

6. Get advice from authors
If you’re interested in understanding the challenges facing self-published author, you need to take a moment to listen and study.

Join the Alliance of Independent Authors. Just by lurking on the forums, you can provide valuable insights on the issues self-publishers face and what you can do to aid them.

Utilize web-based webinars aimed for beginners. Penguin Random House provides a variety of no-cost online tools. Expert instructors and writers lead you on a whistle-stop tour of dialogue, setting and characterization, points of point of view, crime writing as well as children’s literature as well as a lot more.

Take a listen to novels by published authors. My local Waterstones holds regular readings/signings by authors. I’ve been to Garth Nix, Jonathan Pinnock and Alison Moore speak. In April, Harry Brett is chairing the session about how to write a crime, along with Julia Heaberlin and Sophie Hannah.

In May, co-editor Sophie Playle and I are going to “Why Writing Matters,” an event organized by the Writers’ Centre Norwich in association with the Norwich & Norfolk Festival. Also, Jeffery Deaver will be in the town, too. Ticket booked!

They range from free until PS12. This is a small expense for any editor who wants to learn more.

7. Be in front of the publishers
The most effective way to draw editors’ eyes at your editing abilities is to go direct. Professionally trained fiction editors may be approached directly, however in a waiting room for work did not get the small business owner anywhere and it never ever.

The experience … however, not in the fiction
If you’re a seasoned editor or proofreader that is working with publishers but from a different field (e.g. humanities, social sciences) chances are you’ve developed solid relationships with internal editors.

Publishing can be described as a tiny universe – staff from within are able to move presses, and also meet one with each other at events for publishing. There’s a chance you know someone who has connections to someone working in writing fiction. More crucially, would be delighted to testify about your talents.

By acquiring specialist training in the field of fiction it will be possible increase the value of your referrals to the maximum. If you’ve got good relationships with an academic editor in the company. Tell them that you’re interested in exploring writing fiction. Ask them whether they’d like to give you their name and email and provide you with a recommendation.

Newbie
If you’re new into the industry, there’s a good chance you’ll get a response from HarperCollins or Penguin can yield results. The bigger presses usually employ experienced editors who have an established track record in establishing themselves.

Two options are available:

  1. The goal is to target smaller, independent presses. Request if they’re interested in making you part of their list of freelancers. It is important to be clear about the education you’ve completed and the genre of your preference. Although the cost might not be ideal, but I would suggest that you consider this opportunity as a profitable opportunities for business development and marketing. The opportunity will be to benefit from your knowledge, experience, reviews and portfolio submissions in the future.
  2. If the press’s response is with a statement that they’re not being able to contract outside editorial services, you can ask whether you could perform an single proofread or edit to them to gain knowledge and assisting their own publishing plan – the mutual backscratching of business. You can also benefit from this experience when you are negotiating with customers who pay for fiction (publishers and authors who are indie).

8. Be seen on the internet.
There’s absolutely no reason for any professional editor of the 21st century to remain inaccessible. There’s no single way to achieve make yourself visible. Instead, you should take a multi-pronged method.

Directories
If you’re part of an editorial society with national reach that has an official directory, make sure you advertise in the directory as a professional fiction editor or proofreader.

If you’re not already a current member, sign up. The cost won’t be cheap however, running any business comes with costs to it. If we wish to make it big it is essential to get noticed. This doesn’t happen in our laps; it’s something we have to invest in.

If your association does not have an online directory, make sure you lobby for one to be put up and then promoted. I’d even go so far as to say that an editorial society that doesn’t prioritize the public image of its members does not do the job it should.

  1. The Chartered Institute of Editing and Proofreading (CIEP) does the job correctly. My website is highly ranked on Google for specific keywords however, it’s rarely my website which shows up. Sometimes it’s the CIEP directories entry. It is a thrill to know that my membership subscription gives me social networking, friends, and opportunities for training, and visibility through Google search engine.

    If you’re not eligible to be included, you must do the things that are necessary a primary goal in your plan for business.
  2. Reedsy is, despite what you may have heard, doesn’t offer low prices that promote”race to the lowest point’. Editorial professional have their own rate and Reedsy receives a percentage of the amount. There are many requests each month for quotes on writing copyediting and proofreading on Reedsy and I have had the pleasure of working alongside some fantastic writers. Access to Reedsy’s database is completely free, but you have to be able to demonstrate a certain amount of expertise to qualify for.

    In the event that you don’t be eligible for inclusion, then taking the steps necessary a primary purpose in your plan of business.

Create content for indie fiction authors
Anyone self-publishing a novel seeking help with editing will more likely think it’s a great idea to assist the writer before they’ve requested it.

Create Resources which give your prospective clients benefit and will make your website make an impression. Your website is focus on them, not your company. It also shows your expertise and expertise.

It may necessitate some research and is a wonderful opportunity to study. It’s not about taking away your time or personal time instead, think of it as professional development it is. makes you a better editor.

Think about it this way: this: Which shop would you like to buy your shoes from? A shop in which the sales associate gives you all the details about her or that has a sales associate who helps to find the right shoes? This is the same for the authors who select editors.

I’m in the process of acquiring many pages devoted to the resources available for authors of fiction. It’s not just me. Fiction editors also have hubs for resources too: Beth Hill, Sophie Playle, Lisa Poisso, Kia Thomas, and Katherine Trail. They are a few more but I’m at 2,000 words!

Scream out your fantasy particularization
Scream your specialty in fiction from your website’s top. What’s the reason a writer would choose to hire someone who isn’t specialized in writing fiction if there are so many who are dedicated to this field?

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