Honorary president: Judith Butcher Honorary vice-president: David Crystal OBE
Courses
Proofreading courses
- Introduction to proofreading
- Proofreading problems
- Proofreading for accreditation
- Brush up your proofreading
Copy-editing courses
- Introduction to copy-editing
- Brush up your copy-editing
- Efficient copy-editing
- Copy-editing problems
- Professional copy-editing
- On-screen editing 1
- On-screen editing 2
- Introduction to web editorial skills
- Editing mathematics
- Editing medical texts
- Editing and proofreading music
- Introduction to illustrations
Other courses
- Brush up your grammar
- Getting work with non-publishers
- Going freelance and staying there
- Negotiating effectively
- Project management
- Training for trainers
Proofreading courses
Introduction to proofreading
Gillian Clarke (London)
Christina Thomas
Lesley Ward (Bristol, Edinburgh, York)
An introduction to the principles and practice of proofreading for publishing, this workshop comprises practical exercises including a range of problems and discussion of likely solutions. Also covered is relevant typesetting, design and publishing terminology. No experience is required and the course will be useful for those who wish to see whether they have an aptitude for proofreading. It will also be helpful for those with a little experience but who are self-taught and have had no formal guidance.
Proofreading problems
Gillian Clarke (London)
Lesley Ward (Bristol, Edinburgh, York)
This workshop picks up where Introduction to proofreading leaves off, and assumes knowledge gained then (including knowledge of the proof-correcting symbols). The course covers general and scientific texts, and deals with problems such as poor typesetting and heavily edited copy. A proof collation exercise is also included.
Proofreading for accreditation
Gillian Clarke
This advanced course aims to help you decide whether you are ready to take the SfEP accreditation test in proofreading. Although it doesn't cover every single aspect of the accreditation syllabus, it includes most of it, including footnotes, illustrations and captions, headings, running headlines, filling in page numbers and, of course, using good judgement about what to change and what to leave.
If you're considering attending this course, check out the prerequisites first.
(NB: This course was formerly called Brush up your proofreading, which is now the title of a new course – see below.)
Brush up your proofreading
Lesley Ward
If you haven't been proofreading for a while – perhaps you are getting back to work after a career break or have been managing proofreaders for some time rather than doing it yourself – and want to check that your skills are up to date, this is the course for you. It begins at the beginning, with exercises using the BSI symbols to correct text, then moves on to page proofs and issues of page make-up.
Copy-editing courses
Introduction to copy-editing
Lesley Ward
The new copy-editor is introduced to the basic skills involved. No previous editing experience is necessary, but participants should have attended Introduction to proofreading (see above) or have equivalent proofreading experience with knowledge of the proof-correcting/copy-editing symbols. The course will be useful to those starting as copy-editors and those who would like to become one, including people with related experience such as proofreading or indexing.
Brush up your copy-editing
Rosemary Roberts
Many copy-editors are self-taught or have had limited training on the job. This workshop aims to consolidate and extend skills evolved through trial and error, and to put the editorial task in the context of the publishing process as a whole. The standard is intermediate and will suit those who have been editing for a year or more. The course will also be of value to editors who are more experienced but who are out of practice (such as in-house staff who have been involved in managing rather than doing, and those with an editorial background starting out on a freelance career).
Efficient copy-editing
Rosemary Roberts
An efficient copy-editor is one who has strategies and techniques for using existing skills to maximum benefit. This workshop assumes competence and experience, and concentrates not on the copy-editing itself but on planning and carrying out editorial tasks. Its starting point is the assumption that time and money are limited on most publishing projects, and that copy-editors are required increasingly to propose and execute sensible editorial policies to produce the best possible publication within given schedules and budgets. The main concerns of the course are: the assessment of editorial tasks; the planning of editorial work; strategies for working against the clock; the editor's relationship with the author and the work; approaches to flawed material; and the professional freelance and the client.
Copy-editing problems
Lesley Ward
This workshop follows on from Introduction to copy-editing (see above) and assumes knowledge gained from it. The course is based on exercises to cover text containing figures and tables, book prelims and end matter, and text following a detailed house style.
Professional copy-editing
Rosemary Roberts
Knowing the 'rules' is only half the battle for the copy-editor – you also need the confidence to apply them to real-life editing. Designed for those who have taken introductory courses and done some copy-editing work, this workshop teaches crucial skills that will help you to offer your clients the kind of service they will want again and again: how to interpret instructions, even when they are unclear or confusing; how to fill the gaps in the client's brief; how to propose solutions rather than ask for guidance; how to be decisive without exceeding your remit; how to represent your client appropriately when working with the author; how to keep control of all the details; and how to give a job an 'all-round' professional finish.
On-screen editing 1
Anne Waddingham (Bristol, London)
David MacDonald (Edinburgh, York)
This introductory course is intended for people who want to acquire basic skills for efficient on-screen editing. If you have been asked to edit on screen but are unsure of the pitfalls and possibilities, this is the course for you. The day is very much 'hands on', using a series of exercises to allow participants to put into practice the ideas outlined by the tutor at the start of each module. Each participant has the use of a computer with Microsoft Word, and numbers are strictly limited so that individual attention from the tutor is ensured. All participants must know how to use a PC and mouse and have a working knowledge of word processing software and terminology.
If you have enrolled on this course, there is a questionnaire that you should fill in and send it to the relevant course tutor (contact details are on the questionnaire).
Should you do On-screen editing 1 or 2? These FAQs should help you to decide.
The course was tremendously useful ... Feedback from the typesetters via the publisher suggests that my efficiency as an on-screen editor has greatly improved! Course attendee
On-screen editing 2
Anne Waddingham (Bristol, London)
David MacDonald (Edinburgh, York)
This course is for people who have at least six months' full-time on-screen editing experience (or equivalent) and are thoroughly familiar with their word processing software. The framework used in the introductory course is extended into more demanding areas, and the course covers problems typically encountered in more exacting projects. Extending macro functions with Visual Basic for Applications, using master documents, and search and replace with wildcards are among the topics covered. The group is small, with each participant using Microsoft Word on an individual basis. If you are a confident on-screen editor but are worried by gaps in your knowledge or by emerging techniques, this is the course to attend.
If you are considering attending this course, check out the prerequisites first. If you have enrolled on this course, there is a questionnaire that you should fill in and send to the relevant course tutor (contact details are on the questionnaire).
Introduction to web editorial skills
Christina Thomas
Today, it's difficult to work as an editor without having some dealings with web content, and there's a growing market for proofreading and 'validating' websites. This introductory course is designed for those who want to adapt their skills to a new medium or who already work on websites but aren't sure if what they're doing is correct. It's also for those who are responsible for web content but have no editorial skills.
You'll be shown how the web differs from print and how these differences affect the way web content is edited, from page structure to how paragraphs, sentences and words themselves are handled effectively. Throughout the course, real-life examples from the internet will be given, and there will be frequent exercises for trainees to carry out. NB: This is a basic course and will not cover web design, search engine optimisation, databases or anything technical.
Editing mathematics
Lesley Ward
A guide to the editing of mathematics, this workshop comprises practical exercises in a broad subject range to introduce the typographic conventions of mathematics setting and to offer strategies for problem solving. The course is intended for experienced editors, but no experience in editing or proofreading mathematics is required. The course begins at the beginning, with the aim of developing skills in recognising how to edit, rather than how to understand, the mathematics.
Editing medical texts
Lesley Ward
This course is for experienced copy-editors who wish to expand into this field of editing. Based on a series of exercises, it deals with problems of medical editing, such as specialist terminology, peculiarities of English usage in this context, and medical statistics.
Editing and proofreading music
Peter Nickol
Using a wide variety of examples, this course introduces the principles and techniques of editing and proofreading music: checking for its visual and musical sense; marking up a music manuscript; understanding the needs of the music setter; considering the differences between book publishing and music publishing, and between different styles of notation as they are used for different types of music. The interaction of music notation with surrounding text is examined, whether in an academic or educational context. Participants must be able to read music.
Introduction to illustrations
Anne Waddingham
Illustrations come in various forms and sizes. This workshop examines the pre-production handling of black-and-white line and tone illustrations, through discussion and practical exercises. Topics include the copy-editing of labels, briefing the artist, checking captions against illustrations, record-keeping, scaling and assessing the quality of originals for reproducibility. Digital images – including the importance of resolution, plus terminology and preferred formats – are also covered. (Four-colour reproduction and digital manipulation of images are not included.)
Other courses
Brush up your grammar
Lesley Ward
This course is for those who have forgotten or are hazy about the rules of English grammar. The objective of this guided workshop is to clarify the rules and to explain the reasons for using them, especially when justification is needed. It is not suitable for people who have never been taught grammar.
I found it all very helpful – and stimulating – and fun! Course attendee
Getting work with non-publishers
Penny Poole
Non-publishers need proofreaders, editors and editorial project managers. The trouble is, not all of them understand what we do or how our skills can add value to their products and services.
Getting work with non-publishers is designed for anyone – beginners and experienced alike – who wants to find out more about identifying and approaching non-publishers such as manufacturers and service providers, local and national government and voluntary sector organisations. It offers a great opportunity to reflect on how you can promote your business to non-publishers and, crucial in this challenging economic climate, explore ways to fine-tune your networking activities to get more (or better paid!) work.
Going freelance and staying there
Lesley Ward
Devised by SfEP's founder Norma Whitcombe and updated by Lesley Ward, this course provides initial information on the business and organisational aspects of setting up as a freelance. It covers legal requirements, strategies for making contacts, organising your work effectively, keeping to deadlines and coping with loneliness. Also discussed are cash flow and how you can keep your work and home life separate.
All a total mystery until today. Course attendee
Negotiating effectively
Sue Bennett
Assertiveness – or personal effectiveness – is about asking for what you want and achieving as open, honest and direct communication as you can. Although not directly related to editorial matters, personal effectiveness and negotiating skills are a vital part of being a freelance. This workshop discusses the basic theories, and gives participants an opportunity to practise the techniques in small groups.
I'm most impressed with the quality of courses organised by the SfEP. Course attendee
Project management
Anne Waddingham
Experienced editors can learn about extending their services to include longer-term multi-tasked work. This workshop covers projects in which procedures are defined by the client (e.g. taking a book from typescript to final press stage). It uses group discussion, syndicate work and practical exercises to give an understanding of the tasks and processes involved and how they can be managed.
Gave a real feel for what actually has to be tackled and made you think about different aspects of problems. Course attendee
Training for trainers
Penny Poole
Christina Thomas
If you think you might like to become a trainer, or have some experience and would like to check out best practice, this course will provide an excellent opportunity to see what it is all about and to get advice on leading a course. Topics include: training needs analysis; writing a training plan; constructing a course and writing exercises; presentation skills and different models for training. Participants will be asked to prepare a brief presentation on the day. This course also includes an opportunity for delegates to discuss what working as an SfEP trainer entails.
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Course times
All SfEP courses run from 9.30am to 4.30/4.45pm except for On-screen editing 1 and 2 and the York-based courses, which run from 10am to 5pm.