Pro Tips from Your Favorite Editors

CaTyra Polland and Cynthia Williams

Editing is art and science. Two editors can look at the same copy and use very different approaches to get it in the best condition. Though a colleague often can’t tell us the “right” way to do an editing task, sometimes, we can benefit from seeing how other professionals work. Here, Editor Knows Best and Outside the Book have curated some tricks of the trade from your favorite word nerds.



Adrienne Michelle Horn
Editor, I A.M. Editing, Ink LLC
Years editing: 7
Specialty: Line editing, copyediting
Type of material: Articles, blogs, dissertations, manuscripts

Do: Always inform your client of what type of editing is needed and why.

Don’t: Never return a draft to a client without reviewing your changes at least once. We are all human and make mistakes.



Amber Riaz
Editor, A4 Editing
Years editing: 14
Specialty: Copyediting
Type of material: Academic manuscripts, web content

Do: Find an editorial niche that makes you happy, so you wake up every day actually looking forward to your workday.

Don’t: Treat grammar rules as immutable/unchanging. Language evolves constantly, so editors must keep themselves informed of new ways of using words and phrases. A prescriptivist attitude to editing suppresses creativity


Andrae D. Smith
Editor
Specialty: Primarily nonfiction
Type of material: Self-help and personal development books

Do: Know your reading and editing pace and plan accordingly. Check your availability and never be afraid to ask for a sample to see if you can reasonably take on a project.

Don’t: Rush or procrastinate. Take on more than you can handle. Overbook or book outside of your skill level, even if you need the money. The worst thing you can do for your reputation, your business, and your clients is take on so much that you’re rushing to get done and you do a bad job. Each project deserves your full attention.



Chris Obudho
Editor and proofreader, CJO Writing + Editing LLC
Years editing: 25
Specialty: Substantive editing
Type of material: Everything from digital ads to scientific journal articles

Do: Read everything you can. Of course, read books about the business, process, and art of editing and proofreading, to keep your skills sharp — but don’t neglect other forms of prose: cookbooks, catalogs, random websites, dictionaries, “junk” mail/sales letters, old textbooks, etc. These seemingly weird sources of information can give you great insight into how words are used and how sentences are formed. Reading broadly also helps hone your sense of curiosity, which can build knowledge. This knowledge base can then be used to help you better understand what you’re editing. The broader your knowledge about various topics (you don’t have to be an expert!), the more you’ll be able to help (1) your author express an idea and (2) your reader understand that idea.

Don’t: Never forget why you’re editing or proofreading a particular document. It’s not about your ability to redline a document so it looks like a crime scene. It’s not about showing how smart you are. It’s not about making the author’s work “better” by your standards. The editing or proofreading is about the reader.



Crystal Shelley
Editor and proofreader, Rabbit with a Red Pen
Years editing: 4
Specialty: Line editing, copyediting, proofreading, sensitivity reading
Type of material: Novels

Do: Don’t settle for the existing style guide. Style guides are meant to be a reference, to aid us in making decisions for consistency. Sometimes, following the style guide results in choices that don’t suit the circumstance. This is especially true given how quickly language evolves through the work of advocates and social justice movements. Style guides and dictionaries don’t always keep up with how to style terms related to social identities and human rights. If we come across a style guide that’s outdated, we can ask that it be updated to reflect current guidance.

Don’t: Never assume you know everything. The best editors are curious and recognize when they don’t know something or aren’t sure. We are trained to look things up so that the story or the copy is as accurate and clear as possible. If we have any doubt, it’s safer to double-check and be right than to assume and get it wrong.



Debbie Innes
Editor and proofreader, Debbie the Editor
Years editing: 10
Specialty: Copyediting, proofreading
Type of material: Annual reports, website content, corporate reports, nonfiction manuscripts, children’s books, newsletters, brochures, members’ magazines, university student handbooks, media advisories and news releases

Do: If you’re a freelance editor, don’t accept a project with a very low rate, if you can help it. Your skills and experience are worth more than that. Know your worth.

Don’t: Never stop learning. (Most editors know this, but I’m saying it anyway.)



Erica James
Editor, MasterPieces Writing and Editing LLC
Years editing: 6
Specialty: Book coaching (which includes developmental, line, and copyediting)
Type of material: Book manuscripts, academic papers, professional writing, business copy, social media content, website content, digital products

Do: Operate in your gifts both proudly and boldly. Regardless of how many other editors are making their mark on the literary world, no one is making their mark exactly the same. It’s important to know what you do best and to do it well, without fearing the outcome.

Don’t: Don’t take on projects without a clear game plan. To ensure your clients receive high- quality work, it’s best to implement a process that reduces stress and allows you to complete tasks within a reasonable time frame. Editing can be tedious at times; therefore, it’s crucial to know how much of your time and resources will be needed for each project and to plan accordingly. Also, be willing to say no if a project doesn’t align with your process.



Jessica LeeAnn
Editor, Chocolate Readings
Years editing: 14
Specialty: Developmental
Type of material: Fiction and nonfiction manuscripts

Do: Be honest.
Don’t: Discount your rates.



Kassel Pierre-Jean
Editor, Razorfish Health
Years editing: 15
Specialty: Copyediting
Type of material: Print/digital ads, direct mailers, websites, banner ads, conference panels, white papers

Do: Find an editor who is better than you and learn from them. They don’t necessarily need to be a mentor. Just someone you feel has mastered the skill and craft of editing — someone you respect.

Don’t: Don’t be a narcissist. Never act like you know it all. There’s always more to learn, and language and grammar are always changing. Be humble.



Lakeisha Bell Cadogan
Editor, Freelancer
Years editing: 3
Specialty: Substantive
Type of material: Fiction and nonfiction manuscripts

Do: Continuously strive to become a better editor. In the same way that writers should be consistently honing their craft, we, as editors, need to do the same. Taking courses is great, but there are other options too, like reading books and attending seminars (in -person or online). Also, join editing groups on social media. It’s a great way to make friends and learn from other people.

Don’t: A core principle in my business is: Do no harm. As editors, we should never remove the writer’s voice when editing their work. Yes, we can make changes, but that doesn’t mean we should impose our personal views on the writer’s work. The primary goal is to help the writer achieve their best work.



Lourdes Venard
Editor and instructor, University of California, San Diego’s Copyediting Program and Editorial Freelancers Association
Specialty: Copyediting
Type of material: Fiction and nonfiction manuscripts

Do: Read, read, read — especially in the genre or subject area in which you edit or hope to edit. The late Amy Einsohn, who wrote The Copyeditor’s Handbook, said the novice should have a “well-tuned ear.” But this ear can be difficult to develop if you aren’t reading widely. And if you are editing fiction, join a book club. It forces you to read books you might not pick up, and it also is an education to hear how other readers feel about a book and the writing.

Don’t: Don’t be inflexible. Yes, there are grammar and style rules to be followed, but some of these are not set in stone. And even those set in stone can be broken at times. Novice editors often get so hung up on the “rules” that they miss what the writer is trying to achieve. Language can be playful; we, as editors, should allow for that and be open to how language is always changing.



Lyric Dodson
Editor, Editing by Lyric
Years editing: 6
Specialty: Copyediting
Type of material: Blog posts, nonfiction books

Do: If you’re working as a freelancer, get everything in writing! It can seem intimidating to write up a contract that hits all the important points, but it’s absolutely imperative that you do so. You most likely won’t encounter troublesome clients too often as you work, but there is a chance you will — and you want to be prepared if anything happens.

Don’t: Never undersell yourself! Setting your prices is one of the most important things you’ll do, so it’s incredibly important that you charge what you’re worth, no matter how “outrageous” you think your prices are. Remember, you’re charging not only for your time and expertise, but also for the potential return on investment your client can expect to gain in the long run. Don’t price gouge for the sake of making a few extra dollars, but don’t undercut yourself either.



Renee’ D. Campbell
Editor and proofreader, MyPen Syl Writes
Years editing: 15+
Specialty: Substantive editing
Type of material: Résumés, books (fiction, comedy, sci-fi, poetry), white papers, research papers, marketing material, presentations, infographics, websites

Do: Attention to detail is key when editing. Take the role of editor seriously, as the author is entrusting their words to you.
Don’t: Do not promise what you cannot deliver! Deadlines are key!



Taiia Smart Young
Editor, Smart Girl Media
Years editing: 26
Specialty: Developmental editing
Type of material: Self-help, memoir, personal development, spirituality

Do: Edit work that you have some experience with or connection to.
Don’t: Never be afraid to turn down a client.


CaTyra Polland, MA, is the CEO of Love for Words, an editing boutique. She is also a published author and the hostess/creator of Editor Knows Best Podcast. http://www.pollandllc.com.

Cynthia Williams is a department manager at Dragonfly Editorial and interviews editors of color at Outside-the-Book.com.

Eilis Flynn

Years editing: 43
Job title: Principal and sole proprietor of Flynn Books, Words & Ideas
Job description: Freelance editor
Location: Washington State

EXPERIENCE

How did you get your current job?
I had picked up freelance gigs throughout my career, so when I was laid off from the financial magazine I had worked at for more than 20 years, I just went full-time freelance on my own. I had made sure I had editorial experience in everything I could over the years, picking up freelance gigs in projects ranging from finance to tech to comic books, which helped me get subsequent gigs in the same field and helped me network.

What copyediting training have you had?
I was trained on the job, in college in a university press. I started as a production assistant, doing pasteup (using real paper!), before the editor decided she could train me as a copyeditor. (She wandered in, dropped The Chicago Manual of Style on my desk, and said, “Learn this.”) So that’s how I got started. 

Since then, I’ve been a copyeditor, managing editor, editor, developmental editor, and structural editor. My first job after graduate school was as an editorial assistant at a financial magazine. I had no experience in finance at all, but I learned. From there, I went to Wall Street and learned more on the topic. And because I really didn’t have any affinity for finance, I freelanced in other places: a financial magazine with a different emphasis, a romance publisher, a general science magazine, a tech company. The only commonality among all of those gigs was copyediting — and my willingness to learn.

DOING THE JOB

Are there any complementary skills that are important in your job?
Marketing, social media, subject matter — I’m not a natural at any of them, but my husband is a marketing professional, so he reminds me that I have to network. I have to remind myself to tell people what I do for a living. And I can tell you, those topics have been much more challenging to learn than finance, science, romance, or even tech! If editors get the chance, they should learn something new whenever possible.

Do you use any editing tools to get the job done (e.g., PerfectIt, Adobe stamps)? 
I’ve used Adobe stamps when I proofread.

COMMUNICATING WITH OTHERS

Do you participate in a community (or communities) that supports editors?
I belong to the Editorial Freelancers Association, the Northwest Editors Guild, and ACES: The Society for Editing. Facebook has a number of editing communities, so I belong to a handful there.

Do you have any thoughts on the need for editors to network and talk about what they do?
Editors need to network more and talk to others about their work. We’re generally way too shy.

How might we get buy-in during the editing process from authors who may not be receptive to changes?
Keep communicating. It won’t hurt, and it will help relax authors. So they understand that what we’re doing is to help them, not hinder them.

BUILDING DIVERSITY

How diverse is your office? 
I’m diverse enough (biracial, Japanese American, female). But in past jobs, I’ve usually been the only person of color (and sometimes the only woman). 

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? 
Because my mentor was so open minded, it wasn’t until I got into my first real job that I realized that yes, there was discrimination galore, both because of my gender and my ethnic group — and it was everywhere

This one particular man, unfortunately, a racist of monumental proportions, popped up as a hiring consultant in way too many places. Once I’d see him, it would be clear that I wouldn’t have much of a chance, even though I kept trying to win him over. Never did. Fortunately, I would get jobs when he wasn’t involved.

Any suggestions on what offices/employers could do to increase diversity in your field of editing?
Keep an open mind. Talk to the applicants.

THE PERSONAL

Tell us about a project that you’re proud of.
Working with an author to establish a new series of historical mysteries. Kate Parker, who had a series with a traditional publisher, decided to go indie. I got the rare opportunity to do some research to make sure the details were right (in one instance, the weight of gold coins and the currency used in late Victorian Egypt). (That book was Detecting Duchess, a charmer. But then, all of her books are.) It’s great to learn stuff!

Any hobbies you’d like to share with us?
Not really a hobby, but I walk whenever I can. It clears the mind and helps me breathe.

RESOURCES

What advice would you share with fellow editors?
Read widely in subjects you’re not particularly interested in. It helps your work.

Is there anything else you’d like readers to know about you or about diversity in the profession?
Don’t hide it, because your diversity is you. It only helps in your work.

Melissa Brown Levine

  • Years editing: 9 years
  • Job title: Owner and senior editor at Brown Levine Productions
  • Location: Georgia

EXPERIENCE

How did you get your current job?
I created my job after working in corporate America for several years. I always had a side hustle when I worked for other people, so the foundation for the move from employee to business owner was in place. The biggest hurdle was making the leap from the perceived security of full-time employment to the often unstable world of freelancing. In essence, my fear presented as the largest obstacle. 

To get over it, I set a date to leave my job. I saved aggressively during the lead-up to the transition, and I confided in a close friend who held me accountable. Every time I doubted my decision or considered pushing my leave date back, she would challenge me to stay the course.

As I prepared to shift into freelancing full time, I created a résumé that featured the freelance editing and writing I had done over the years and developed a letter that I sent to publishers and other potential clients to introduce myself and outline my services.

What copyediting training have you had?
My entry into copyediting was not traditional. I was not employed as a copyeditor before I shifted into freelancing full time. While employed as a technical service librarian, I freelanced as a book reviewer and copywriter. The book review service I wrote for focused on the work of independent authors whose books were often in need of copyediting. So a lot of my efforts beyond reading the books and writing the reviews involved detailing for authors the problems with grammar and punctuation, as well as structure and organization, in their books. This led to requests for copyediting services, which meant that I needed to hone my editing skills.

Regarding training, I have a master’s degree in professional writing, but when I was preparing to freelance full time and afterward, I also took online courses that focused on copywriting and proofreading. However, I would say that the best training I have received as a copyeditor has come from client feedback. That can be a rare thing in freelancing (often, feedback will come in the form of not sending subsequent assignments if the first one wasn’t to the client’s liking), but those clients who take the time to remark on what went well with a project and what they expect for future assignments offer what amounts to valuable on-the-job training.

DOING THE JOB

Are there any complementary skills that are important in your job?
Marketing is an important factor in freelance copyediting. The initial introductory letters that I sent out during my transition to self-employment helped me build my client base. I maintain a website for my business, and I also have a presence on LinkedIn. In fact, the owner of Dragonfly Editorial found me on LinkedIn a few years ago, and I’ve completed work for the company on an ongoing basis since then.

Subject matter expertise is another tool that has helped me. My degrees and experience in psychology and counseling have been important when completing copyediting assignments for academic and nonprofit clients.

Flexibility and the willingness to learn are significant skills for copyeditors to hone. For example, editing government proposals and journal articles based on clients’ specific style guidelines requires copyeditors to be accommodating of their clients’ needs. Copyeditors may also need to learn unfamiliar software, such as SharePoint or a specific project management system.

Do you use any editing tools to get the job done (e.g., PerfectIt, Adobe stamps)? 
I have what I call a “setup process” when I begin a copyedit. I run PerfectIt first. This program does a great job of identifying inconsistencies in spelling, capitalization, and hyphenation. It does a fairly good job of identifying acronyms that have been spelled out in more than one place in a document. For government proposals that are often acronym heavy, running PerfectIt first allows the copyediting to flow smoother because I don’t have to keep stopping to run them down. And if the client requests that a list of acronyms be added to the style sheet, PerfectIt is an extremely valuable tool during a copyedit.

Next, I run spell-check. This helps me to clear out the obvious spelling and grammar errors before I begin reading the doc. If the program brings up hundreds of possible errors, then I know I’m in trouble. Once I complete that review, I do a search for any client-specific requirements. For example, number ranges that are separated by a hyphen instead of an en dash. More specifically, I have one client who does not allow the use of the ellipses symbol (…); instead, the preference is spaced periods (. . .). Some clients have macros that make the specific housekeeping changes to the document, so I will run those before starting the edit.

After the edit is complete, I search for extra spaces after punctuation and run spell-check again. Instead of running PerfectIt a second time, I often use the PerfectIt Consistency Checker, which is an add-in for Office 365. It covers the basics of the PerfectIt program (spelling, capitalization, hyphenation, numbers, etc.) but faster.

Finally, I plop the document into Grammarly. I have found that this program is really helpful when editing the work of writers whose first language is not English. Such writers often leave out definite and indefinite articles, and Grammarly catches the instances of this type of error that I miss because my brain filled them in during the edit. The program is also often better at spell-check than Office 365.

These programs help the editing progress faster, but they also serve as another set of eyes after I have completed the copyedit.

COMMUNICATING WITH OTHERS

How do you and your colleagues talk about editing with each other?
I am the sole employee of Brown Levine Productions, so if I am facing problems or concerns about a project, I go directly to the client, offer my suggestions for how I think issues should be handled, and then ask for further guidance. 

When I work on group editing projects with Dragonfly Editorial, I have the opportunity to discuss editing with the lead editor and others on the project via chat, which helps the editing process move along faster and smoother, because I’m not making all of the decisions about the edit on my own.

Do you participate in a community (or communities) that supports editors?
Outside of my contact with clients and the editors I work with on specific group projects, I have taken classes with editors. This provided insight into how other people approach editing and broadened my understanding of how to respectfully approach a writer’s work when embarking on a copyedit.

Do you have any thoughts on the need for editors to network and talk about what they do?
I do think that a copyeditor’s work can and does speak for itself. In my case, doing good work means that I receive more projects from my clients and even have people seek me out to offer me work. 

I think networking and talking about the profession are important, but engagement should also be based on the individual’s preferences and personality type. I am a solid introvert, so the work I am doing now as a freelancer is pretty much my dream job. I don’t do a lot of networking, but I do happily respond to inquiries from people interested in getting into the field. I also consume quite a bit of information about copyediting from blogs, listservs, and articles.

How might we get buy-in during the editing process from the non-editor colleagues with whom we work?
I think we gain buy-in by positioning ourselves as part of the writer’s/non-editor’s team. This happens when we clarify the writer’s expectations before the edit, and during the editing process, when we ask questions and make suggestions about the material based on our experience and what we are seeing in the text. 

I also think that using the right language in queries helps to put writers at ease about the editing process. I use “we” a lot when asking questions about a document (e.g., “Should we include a quote from all five of the presenters mentioned in the text, instead of only two?”). I think this gives the author a sense of being supported, instead of feeling reprimanded for not being thorough. 

I do a lot of fact-checking and add live links for information that I introduce in a query, so the author can make a decision about information based on more than my suggestions. 

I think it’s important that we communicate to writers that they are still ultimately in control of their work; we’re simply here to make it better.

BUILDING DIVERSITY

How diverse is your office? 
My business is Black and woman owned, but I do work with clients and other editors who represent a diverse body in regard to race and gender.

Any suggestions on what offices/employers could do to increase diversity in your field of editing?
I find that the field of copyediting is not one that a lot of people are aware of outside of traditional book publishing. Perhaps more outreach to students at state universities and historically Black colleges and universities, as well as the creation of editorial internships, will increase awareness of this field for a diverse population.

Have you faced any hurdles in getting into/advancing in the copyediting profession because you are a person of color? (These can be systemic, personal, environmental.) Or have you observed such barriers for others? Tell us about that.
I think (perhaps naively) that this may be a problem that a person of color would encounter more often when applying for or seeking advancement in a traditional, direct-hire position, as opposed to freelancing. I am generally hired based on the successful completion of a copyediting test. 

Now, it is possible that I have submitted my résumé to a managing editor who looked at my website and my LinkedIn page and decided not to hire me because of my race, but frankly, that doesn’t touch me directly. There are numerous opportunities for work in this field as a freelancer, so if I am actively seeking clients, I just keep reaching out to organizations until I add the number of clients I feel able to handle at a given time. 

Ultimately, it’s my skill set that gets me hired and keeps clients coming back to me. If I haven’t been hired because someone took a look at my website and saw my Black face, then they did us both a favor, because that’s not the type of company I want to invest my time and skill in. 

I do think that it would benefit the field to have more people of color copyediting in businesses and as freelancers, because we bring different perspectives to the content that is being produced.

THE PERSONAL

Tell us about a project that you’re proud of.
I recently received an urgent request from a nonprofit client to complete a substantive edit of a personal account of one of the firm’s representatives who participated in the George Floyd protests in Minnesota. The representative, who lives in the neighborhood where Mr. Floyd was killed, reported several occurrences of outside agitators coming into the community with the intention of destroying property. The representative even found a car stocked with gasoline canisters. 

The story was relayed during a conversation over the phone. So I was given an extremely rough draft, with instructions to bring all of my skills to the project and to return the edit as soon as possible. Three hours later, I’d restructured the piece and completed a copyedit. 

I am proud of that assignment because I was able to help an activist in Mr. Floyd’s community express her version of what was happening on the ground, as opposed to the mix of often-distorted stories that were provided by the media.

Any hobbies you’d like to share with us?
I am currently working on a novel. I’ve been writing the book for almost two years and hope to have a readable draft by the end of the summer. Most people probably don’t engage in their “hobbies” between midnight and 3:00 a.m., but that is the time that works best for me: there are no emails, no text messages, and no calls — just me and the characters and their stories.

RESOURCES

What resources would you share with fellow editors?
The current edition of the style guides your clients require you to use, as well as AP vs Chicago, Conscious Style Guide, Copyediting-L, and Power Thesaurus.

Antonn Park

  • Years editing: 5 copyediting, 1 line editing
  • Job title: Owner of Blue Flower Editing
  • Job description: Primarily edit economic and financial papers and reports; other content areas: cannabis market research reports and criminal justice/law papers
  • Location: Massachusetts

EXPERIENCE

How did you get your current job, and what positions have you held?
I officially started my company almost three years ago. Before that, for two years, I worked as an assistant site director at an assisted living facility for previously homeless elders. I wanted direct service work experience. While working there, I became a board member of the Criminal Justice Policy Coalition, took a grant-writing class, and wrote (and partially won) my first grant for the organization.

I then started writing more grants as a volunteer and doing prospect research for nonprofits. I eventually left the living facility and became an educational programs assistant at a company that managed educational trips to Africa, where I wrote and edited itineraries and educational material. I also briefly worked at the Greater Boston Food Bank as a grant writer. 

I realized I enjoyed editing more than writing. I wanted to copyedit but couldn’t find any copyediting jobs. So I looked for something that wasn’t just copyediting.

I got a job as a production coordinator at a transcription company and was tasked with duties that included editing a variety of transcripts: finance, legal, academic, medical, government, marketing, and history. I persuaded the director to let me copyedit their training manuals, operational documents, and marketing materials. While I was at this job, I got more involved in the editing community, worked on getting a copyediting certificate from University of California, San Diego (UCSD), did volunteer copyediting, and set up my business. The day I quit, I was informed that I passed a copyediting test for a journal and was offered a weekly amount of work that paid close to what I was being paid at my employer. So I was thrilled!

What copyediting training have you had?
I completed the UCSD copyediting certification program and have taken numerous webinars. I also read a lot of books on writing, editing, and grammar. 

Before I started my company, I took the Freelance Accelerator Workshop led by Laura Poole (of Archer Editorial Services) and Erin Brenner (of Right Touch Editing), which really helped me learn how to run an editing business. 

DOING THE JOB

Are there any complementary skills that are important in your job?
I have a B.S. in economics and an M.S. in crime and justice studies. Since I mainly edit in those areas, having that education really helps me understand the material.

Do you use any editing tools to get the job done (e.g., PerfectIt, Adobe stamps)? 
I use PerfectIt, and I use Adobe stamps when I am marking up text in PDFs.

COMMUNICATING WITH OTHERS

Do you participate in a community (or communities) that supports editors? 
I am part of a mastermind group that consists of three other women who are similar in age (late 30s to mid-40s). Two editors in the group came up with the idea and invited me and another editor. We meet once a month and discuss a topic, e.g., professional development, marketing, websites, systems, and metrics. 

I am also a member of ACES: The Society for Editing and the Editorial Freelancers Association (EFA). I was a chapter coordinator for the EFA Boston chapter for two years. I’m also part of Facebook groups for editors: Editors of Earth (public), EAE Backroom (private), Business + Professional Development for Editors (private), and Academic Editors (private).

Some think the editing speaks for itself, that the hard work alone will advance their careers. Do you have any thoughts on whether editors need to do more (e.g., networking and talking about what they do)?
Networking is helpful, but learning how to market yourself is really important. I had a business mentor (a fellow editor) who helped me figure out how to market myself to my ideal client. So finding a mentor, clarifying what makes you stand out, finding where your clients are, engaging with them, and finding a niche can really help your business. Don’t be afraid to think outside of the box when it comes to marketing.

THE PERSONAL

Tell us about a project that you’re proud of.
There’s not one in particular. I mainly do academic editing, so when I see a published paper that I’ve worked on, I get pretty happy.

Any hobbies you’d like to share with us?
I enjoy swimming, biking, and spending time with my husband and seven-year-old dog.

RESOURCES

What resources would you share with fellow editors?
The EFA and ACES and their Twitter chats, along with Facebook groups.