Years editing: 35
Job title: Freelancer, business owner
Job description: Consultant, project manager, copyeditor (content, legal, technical), proofreader, writer, writing coach, and editor mentor
What copyediting training have you had, and what positions have you held?
I was an insatiable reader as a child and teenager, and I remember studying the structure of books I read, character by character. I paid attention to minor things, like the spelling of grunts — the “uh-huhs” and “mm-hmms.” I analyzed dialogue punctuation, tags, and beats. I noticed shifts in point of view, the key differences between first-person and third-person narrative, and the intricacies of internal dialogue.
I studied proofreading in grade school, but I didn’t get serious about it until the early ’90s. That was when I took my first college-level proofreading and editing courses.
I began freelance editing professionally in 1986 for United States military recruiters and classmates in high school, then for lawyers in 1989, but I didn’t start my first official editing business until 1995.
I moonlighted as an editor while working full time at law firms, advertising agencies, and telecommunications companies as a legal editor and proofreader, advertising editor, and technical writer and editor, respectively. I’m also skilled with software development and programming, and have worked as an intranet developer and content editor.
DOING THE JOB
Are there any complementary skills that are important in your job?
As an entrepreneur, I wear all the hats, doing tasks myself or delegating them. My roles require skill in analytics, contract creation, email management/communications, graphic design, image editing, invoices/fiscal management, marketing, newsletter development, project management, search engine optimization, social media, and web design, to name a few.
Then there are the critical soft skills one must have to be successful: active listening, flexibility, honesty, integrity, leadership, negotiation, optimism, reliability, responsiveness, time management, and transparency.
Do you use any editing tools to get the job done (e.g., PerfectIt, Adobe stamps)?
I’ve tried PerfectIt, ProWritingAid, Grammarly, and Ginger. PerfectIt is my tool of choice right now, although it’s painfully slow. Grammarly is second. While recently editing the 140,000-word U.S. Civil Rights Trail guide for Moon Travel/Hachette Book Group, for example, I used PerfectIt to ensure consistency in acronyms and abbreviations.
When proofreading galleys, charts, magazine pages, and other PDFs, I use iAnnotate. I’ve also used ProofHQ (now Workfront) and Ziflow for online corporate proofing that requires a team review.
COMMUNICATING WITH OTHERS
How do you and your colleagues talk about editing with each other?
I currently have two editors working with me at WordWiser Ink, Brandy Patton and Sherian Brown. We have a great private group on Telegram. We also enjoy discussions with other Black editors in an online community, Black Editors Network, where we talk about business, projects, other opportunities, work-life balance, health and fitness, etc.
Do you participate in a community (or communities) that supports editors?
Only Black Editors Network at this time. It’s the only real community of editors I’ve ever been part of. It was originally created for members of the Black Editors & Proofreaders Directory but has recently been opened to all Black editors.
I was a member of the Editorial Freelancers Association (EFA). I served on the board of directors and as conference planner for its national conferences. I was a member of the email discussion list and forums, but I always felt like an outsider. I was also a member of ACES: The Society for Editing for one year, but I don’t know if they had a community where editors could discuss issues.
Do you have any thoughts on the need for editors to network and talk about what they do?
For freelance editors, yes, networking and referring clients to other editors of your ilk can be worthwhile, particularly when other freelancers refer clients to you in return.
How might we get buy-in during the editing process from authors who may not be receptive to changes?
When I first started editing, it mattered more to me if authors were receptive, but not anymore. As a freelancer, I tell them what the rules of style are according to The Chicago Manual of Style, AP style, or whatever style manual I’m using. Whether they decide to reject that is not within my control, so I don’t concern myself with it.
How diverse is your office?
My firm is 100% Black-owned and woman-owned, with two Black female editors.
Have you faced any hurdles in getting into/advancing in the copyediting profession because you are a person of color? Or have you observed such barriers for others?
No. I forged my own path as an editor, and I find that authors and other editors seek me out because I’m Black, experienced, and skilled at what I do. Companies (Black-owned and otherwise) want to work with me for the expertise I lend to their projects, and Black individuals want me on their teams because “we” like working with “us” when we find someone who’s capable, reliable, responsive, honest, and professional, and who operates with integrity.
I am all of those things, and I discovered long ago that hurdles tend to move aside when I operate in my gift.
Tell us about a project that you’re proud of.
I should preface this by saying that I absolutely adore sci-fi, mythology, and fantasy — movies, TV, and books. I am editing a speculative fiction series written by Carolyn Holland called Brothers of the Dark Veil. Its storylines infuse mythology, history, and science fiction in a way that is so engrossing that I have to remind myself while reading her work that I’m supposed to be editing it — despite doing pre-reads! She writes the kind of stories that make readers lose track of time and have ’em sitting up in the bed turning pages in the wee hours of the night.
Her standards for the production of these books are top-notch. I’m so proud of her and this project that I seriously consider it an honor to be part of her team and to edit her work. I can’t wait to have the entire series grace my bookshelf.
Any hobbies you’d like to share with us?
I enjoy cycling, yoga, Pilates, hi-fi audio, traveling, superhero films and shows, and sourcing venues for retreats and conferences for writers and editors. My next event will be a retreat for editors in conjunction with the next Writeful Places Writers Retreat at the Grand Hyatt Playa del Carmen Resort, June 5–8, 2021 — if COVID-19 will let us be great — followed by the next EFA conference.
What resources would you share with fellow editors?
Other than Blackeditors.net, another online community worth checking out or referring to is Blackwriters.org, an online community for Black creative and freelance writers. It offers job leads from employers seeking diverse applicants, calls for submissions, fellowship and grant leads, critique groups, and an accountability/writing tribe, to name a few of the benefits.
Is there anything else you’d like readers to know about you or about diversity in the profession?
In the current environment, I see a strong, ongoing demand for skilled developmental editors and substantive editors of color. To aspiring freelance editors: Don’t be deterred by how many other editors are offering these services, and don’t believe that all of them are competition. What’s important is the distinction between quantity and quality. All editors are not equal. Strive to be the standout.
Also, be careful about with whom you affiliate as an editor. In this business, reputation is everything. Find your tribe. If you’re an independent, whether self-employed or the only Black editor in your office, you don’t have to be solo. We’re out here!