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Being a freelancer is much more than working in your pyjamas. For the privilege of setting your own hours, you also have to be your own boss, the sales team, the office manager, the bookkeeper, as well as the employee. Learn how in this seminar, which outlines the basic steps to your dream job.
Part 1: Getting Ready
Part 2: Getting Going
As a result of attending this session, attendees will be able to start their own freelance business. They’ll know how to register for a business name and HST number, how to start marketing their services and what to track for basic bookkeeping and taxes.
This webinar series is geared towards communication professionals at all stages of their career.
Presenter: Christine LeBlanc
Date: Saturdays, May 5 and 12
Time: 12 p.m., EDT / 9 a.m., PDT
Length: Two 1 hour sessions
Member price: $84
Non-member price: $120
Christine LeBlanc started Dossier Communications in 2005, after a decade in publishing. She has a degree in journalism and a professional certification in marketing.
Reporting back on new directions in self-publishing: A summary of challenges, opportunities and resources
Editors Toronto paired with PWAC Toronto Chapter to present a panel on self-publishing. The following post is from the PWAC Toronto Chapter blog, Networds. Thanks to editor Suzanne Bowness for giving BoldFace permission to share the post.
by Suzanne Bowness
If you’re one of the unfortunate PWAC members who couldn’t make it to the self-publishing panel held on March 27, which was co-organized by PWAC Toronto Chapter and Editors Toronto, you’re in luck: I took notes for you. It’s not quite the same as being there, but here are a few tips and images to give you a flavour of the event.
If there were a quote to summarize the evening, perhaps it was one of the first to be projected on the big screen in the University of Toronto (U of T) lecture hall, where we all gathered:
“Self-publishing used to be a scar; now it’s a tattoo.”
That’s from Greg Cope White, author of The Pink Marine: One Boy’s Journey through Boot Camp to Manhood. I forgot to take a picture, but the quote still sticks in my mind days later.
If the evening had a theme, it was how much has changed in the world of self-publishing, even in the last five years. Seriously, most panellists said those exact words or similar.
Hosted by the Creative Writing program at the School of Continuing Studies, U of T, the panel consisted of four industry pros, who all did a great job of dividing this big topic into digestible sections, providing a helpful mix of new information and personal anecdotes, which allowed their talks to flow together nicely. You can read the panellists’ biographies here, in our original post advertising the event. (more…)
Crystal against crystallization
by James Harbeck
(Oxford University Press, 2017)
How can we have crystal-clear language spoken by people with a crystal-clear understanding of how it works? For one thing, don’t try to crystallize it—just Crystal-ize. Making Sense: The Glamorous Story of English Grammar, by David Crystal, is for anyone who wants to get Crystal clarity on the function and uses of English. Crystal is a world-renowned British linguist, academic, and author. He is one of the leading lights of popularizing linguistic understanding; he has written, co-written, or edited more than 120 books, including the Cambridge Encyclopedia of Language, The Stories of English, Language and the Internet, and, most recently, a series of books beginning with Spell It Out: The Curious, Enthralling and Extraordinary Story of English Spelling, continuing with Making a Point: The Pernickety Story of English Punctuation, and now adding Making Sense, which gives us what is effectively an introductory course in English linguistics—syntax, morphology, semantics, pragmatics, and history—written for people who want something readable and usable. And he adds some extra details that you’re more likely to get in a course in effective writing.
It can be difficult to review a book that has nothing wrong with it. Honestly, in real life I would normally just say, “If you’re interested in grammar, read this book; if your work in any way involves grammar—and of course it does—read this book; even if you know a lot about grammar already, it will still be worth your time.” But let me give you some more details so you know why I’m recommending it. (more…)
FOR IMMEDIATE RELEASE
Toronto, November 21, 2017—The Editors’ Association of Canada (Editors Canada) congratulates member Michael Redhill, winner of the 2017 Scotiabank Giller Prize for Bellevue Square.
Bellevue Square is a darkly comic literary thriller about a woman who fears for her sanity and eventually her life when she learns that her doppelganger has appeared in a local park.
Redhill is an award-winning poet, playwright, short-story writer and novelist, and a member of Editors Toronto. He gave the keynote address at Editors Canada’s 2010 national conference in Montreal, where his clever speech kept the audience laughing (and the interpreters jumping).
Last night, Redhill’s address to the audience in attendance at the gala at the Ritz-Carlton Toronto was an emotional one. He thanked Michael Ondaatje and Linda Spalding who “over 30 years ago…opened their door to me and I’m grateful for the enthusiasm and encouragement they brought to my life.”
He went on to thank his mother. “Our house was full of books because of [her]. Because of her love of reading, I wanted to make her books,” he said.
The $100,000 Scotiabank Giller Prize is the richest literary award for a work of fiction in Canada. The prize has been awarded annually since 1994. It was founded by the late Jack Rabinovitch to honour his wife, the journalist Doris Giller, who died a year earlier. Rabinovitch died this year at the age of 87.
An editor all his life, Redhill is no stranger to the “best supporting actor” role that goes along with this invisible art in publishing. Earlier this year, he posted on Facebook looking for editing work. “The ends, they do not meet,” he wrote.
“The ends are going to meet for a while now,” he joked after winning the prize.
Born in Maryland in 1966, Redhill has lived in Canada for most of his life. His career formally began in the early nineties at Coach House Press. He taught “Editing Poetry” at Ryerson University and is the author of the novels Consolation, longlisted for the Man Booker Prize, and Martin Sloane, a finalist for the Giller Prize. He has written a novel for young adults, four collections of poetry and two plays, including the internationally celebrated Goodness. He also writes a series of crime novels under the name Inger Ash Wolfe. He lives in Toronto.
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About Editors Canada
Editors Canada began in 1979 as the Freelance Editors’ Association of Canada to promote and maintain high standards of editing. In 1994, the word “Freelance” was dropped to reflect the association’s expanding focus to serve both freelance and in-house editors. As Canada’s only national editorial association, it is the hub for 1,300 members and affiliates, both salaried and freelance, who work in the corporate, technical, government, not-for-profit and publishing sectors. The association’s professional development programs and services include professional certification, an annual conference, seminars, webinars, guidelines for fair pay and working conditions, and networking with other associations. Editors Canada has five regional branches: British Columbia; Saskatchewan; Toronto; Ottawa–Gatineau; and Quebec/Atlantic Canada, as well as smaller branches (called twigs) in Calgary, Edmonton, Manitoba, Kitchener-Waterloo-Guelph, Hamilton/Halton, Kingston, Nova Scotia, and Newfoundland and Labrador.
Editors can wear many hats. Sara Scharf dons a grant-writing hat, especially in the fall. She sees a great many applications and she has a few tips, which she has kindly given BoldFace permission to share from her blog.
I’ve been editing a lot of grant applications lately. To borrow from Tolstoy, good grant applications all have several things in common, but there are many, many different ways for grant applications to be bad. Here are some tips to help you succeed in applying for grants.
The number one thing that successful grant applications have in common is that they follow the directions. Most granting agencies have many applicants for a limited pool of resources. Don’t let your application get screened out early for failing to follow directions. It’s about respect: if you can’t even be bothered to submit what the instructions call for, the reviewers will have less reason to believe that you’ll use the grant money appropriately. Beyond showing basic respect by following the directions, be kind to your reviewers. Make your application easy to read and easy to understand so they will focus on your content. Here’s how:
Even if there is no minimum font size specified, use a font size of at least 10 points – even in figures – to make your text easy to read. Don’t play with the spacing, margins, line height or paper size, either. Reviewers see many applications and will notice when something about the layout is unusual. Giving reviewers more to read when they’re already swamped with applications is not a way to stay on their good side. But there are still ways to use the space you have to maximum effect.
All grant applications have limits of some kind on how much writing should go in each section. Page limits and word limits are pretty unambiguous. Character limits usually crop up when submission through specific types of digital forms is required. Many of these forms count spaces as characters. Maximize the amount of text available by using only one space between sentences. (Two spaces between sentences is a hangover from the days of typewriters and not a habit that holds up well now). Make sure there are no extra spaces by searching for and replacing “ ” (two spaces, no quotation marks) with a single space. Check that there are no stray spaces at the end of paragraphs. (more…)
(St. Martin’s Press, 2016)
By Michelle Waitzman
Camille DeAngelis is a novelist whose career has had its ups and downs. Like many writers, she often found herself battling self-doubt, jealousy, bitterness, and frustration. She decided that it was time to re-examine her beliefs about herself and her career and, most importantly, to examine her ego and how it was affecting her professional life.
Life without Envy: Ego Management for Creative People will resonate mainly with readers who consider themselves “creators” (authors, poets, visual artists, musicians, etc.). Although it is written from the point of view of a writer, and most of the examples in the book revolve around writing, it addresses common problems with working in any profession where success and failure are often subjective and where both praise and criticism are taken very personally.
Editors may find that this book is not really targeted to them unless they also have a writing career or aspire to have one. Nonetheless, some of the examples are likely to ring true. As an editor, it’s easy to feel envy or frustration after working for months to shape and improve a book, only to see all of the praise and credit for its success go to the author (whose work may not have succeeded without you). Also, many editors suffer from “imposter syndrome,” which is a feeling that you are only pretending to know how to do your job (despite the fact that you are actually well-qualified) and believe that you will be caught out and exposed. (more…)