ISSN 1030-2557 PO Box 254, Broadway NSW 2007 January/February 2005
At the society’s September Freelance Forum, held at Italian restaurant Buon Gusto, we heard four
experienced editors discuss the challenges of freelance editing. Panellists Robin Appleton, Robert Pullan,
Julie Stanton and Shelley Kenigsberg addressed problems such as copyright, defamation and retaining
the writer’s voice. Following are edited highlights from the forum (to be continued next month).
Robin Appleton respond to the typescript as ﬁrst reader, Jack or Jill of all publishing departments,
The telephone rings, the fax machine rather than judge it by criticising the including promotion. All aspects of the
squeals and you ignore both. You do writer’s way of expressing the action brief must be accounted for in the quote
not want to be interrupted. You are and the setting. After all, when you that you present to the contractor.
reading the last chapter of a harrowing think about it, it is not the way you Not every project is as simple as
typescript. There are problems: the would say it, is it? having a good story, hampered by
adjectives, the modiﬁers, the passive Responding to the essence of the superﬁcial editorial matters such as
voice. . .and yet you want to keep work before possibly, unwittingly, overuse of adjectives and modiﬁers
reading. Why? Usually you would pick becoming the co-author or acting as an and the passive voice. That would be
up a pencil and start crossing out so interventionist when not invited to be, is too easy.
much of the text. This time you choose one way to work through a typescript. Many freelance editors do not even
not to. You are enjoying the story. meet their writers, or have contact
Consider why that is so. The story is ‘Many freelance editors do with them by email, fax, or telephone.
good, overwritten, yet it is readable. not even meet their writers’ These editors still need to set out some
You have been included in the story. guidelines for the contractor to send on
You have become part of the action. Check the brief. If the brief does not to the writer about how editors work
The characters are believable and there describe the contractor’s expectations and what they do and to explain that
is a tension in the theme that engages clearly, ensure you understand the role many of the marks on the typescript are
you. The dialogue has an edge to it. Not that you are to take in the work. Write suggestions to be negotiated.
overdone and yet racy. The clues are a brief for the client or contractor and Be sure that the contractor’s style
subtle. You cannot predict the ending. discuss the contents, describing the sheet is included early in the project
You want to know what happens and level of work that you would do to so that there is no misunderstanding
that is why you want to ﬁnish the tale prepare the work for publication. Make about -ise or -ize endings on verbs
and yet you do not want the story to sure that you know how much work and matters such as ‘program’ versus
end. Could there be a sequel? As you do is required on the computer. Some ‘programme’ or if the Macquarie
not have your pencil in your hand you contractors expect you to become the Dictionary is the dictionary used by
continued on next page
Next meeting: Tuesday, 1 February 2005
‘Books I work by’: Irene Wong will share with us her thoughts about her
favourite communications books. Irene will discuss why she has found them
Festive fun 2 essential at work and outline the beneﬁts gained from reading widely on
New members 4
Irene Wong is Internet Manager for the Australian Securities and Investment
CASE notes 5 Commission’s two websites. She has worked at ASIC and the Australian Bureau
of Statistics in a variety of roles including Commissioning Editor.
News, notices and conference
diary 7 Sydney Mechanics’ School of Arts, 280 Pitt Street, 6.30 p.m. for 7.00 p.m.
Drinks and light refreshments provided. $13 for members; $16 for non-members
Professional development 8 and those who don’t RSVP; $7 for holders of a current concession card.
Please RSVP to 9294 4999 (voicemail) or <email@example.com>
(email) by Friday, 28 January.
March meeting: AGM, Tuesday, 1 March 2005.
continued from page 1
the contractor. Explain that certain To move on from the minutiae of
hyphenation is a form of punctuation editing to something that affects us all,
included to make better sense of
a compound expression. It is also
freelance or in-house editors: copyright.
Copyright in the USA now covers 70 years
wise to indicate that punctuation is after the death of the writer. Will the Free
often ‘owned’ by a writer, although Trade Agreement with the USA affect We hope you all had an
some of the punctuation might need Australian copyright and will publishers enjoyable Christmas, New
attention because it is inconsistently or have to follow the US system?
Year and holiday break.
ungrammatically used. As ideas are not subject to
Thanks go to those of
you who attended the
There is also the problem of ﬁction copyright, the essence of a writer’s
fabulous Christmas Party
that is faction, poorly concealed. thesis or ﬁction can be taken and can in December, making it the
People mentioned are identiﬁable, if be used elsewhere. There is implicit lively night it was.
not by their real names being used, conﬁdentiality when an editor works on The beautifully decorated
by the descriptions of their person or ‘novels’ or nonﬁction. Be careful not to tables were a hit and the
their actions and the time in which talk about the essence of the work that top-notch three-course meal
they are presented. Troubles arise and you have in your care. at Cafe Otto, served by
can be actionable in law when a living Copyright is a serious matter that accommodating staff, was a
character is mentioned and has not editors need to understand and so resounding success.
seen the copy before publication to do writers. Freelancers need to keep Many fun prizes were
be satisﬁed that what has been written informed about changes to copyright given away throughout the
is true. Provide a living person with and to be ready to discuss matters of evening. Among the lucky
a clandestine lover, or several, when copyright with writers. winners was Bruce Howarth
that ‘fact’ is ﬁction and you are in Editors know that writers need for best Christmas spirit
trouble if you do not check the details. to acknowledge sources and need to (although Bruce’s beard did
Implication is all that is required for apply for permission to reproduce text, give him a ﬂying start).
a person to take umbrage about a words or lyrics, but we need to tell For additional
character in a book. If the person is writers of that responsibility and the entertainment, Neil James
seen to be similar to a living person costs that it might entail. Writers often from the Plain English
there can be a legal issue that could do not understand that they have to pay Foundation presented ‘Fun
endanger the progress of the book, the for the rights to reproduce previously with words’. Winners of
writer’s reputation, and the publisher’s published material and that there is a
his highly entertaining
ﬁnancial department. Editors need to protocol in citing the material.
Christmas carol quiz,
who struggled to make
be watchful. Wrong birth-dates or the The fees to reproduce poems and
themselves heard above the
transposition of dangerous words such lyrics in part or whole, for instance, raucous crowd, included
as ‘only’ and ‘even’ can change the can be much greater than for text. Merry Pearson, Catherine
meaning and the writer’s intention. Encourage writers to replace poems Gray, Judith O’Brien and
‘Writers can lack the or lyrics as they might not have been Judith’s ﬁancee, Michael
essential to the work and were put into Lewis.
vitality to cooperate in the the work for effect. A great deal of behind-
late stages of editing’ Readers are informed people. the-scenes work made
Editors need to remember that the this a fun-ﬁlled night. The
There is no need for much of the range in ages of readers of many genres Christmas Party
intervention that takes place in editing. can be three generations apart. Less sub-committee cruised
The work should remain the writer’s. experienced freelancers and in-house the streets of Newtown
Be on the lookout for matters that need editors can alter the writers’ intentions and Glebe searching for a
to be questioned, or checked, rather by modernising the language to that suitable venue, negotiated
than trying to be clever with outdated which their peer group would use, an excellent feast with Cafe
rules of grammar that no longer cause although the content of the work might Otto and organised the
the angst to readers that they once did. be about a different historical time. drinks, prizes, decorations
Many biographies are unauthorised Jane Austen’s works are still read by and guest presenter.
and many people are named in such young people and are enjoyed in spite Special thanks go to the
publications. The writer’s agenda colours of idiosyncrasies in punctuation and hard-working committee
how people are presented in the ‘report’ stilted expressions. members Julie Stanton,
of the main character’s story. Facts need
Deborah Edward, Terry
checking. Editors need to be prepared to Robin Appleton is a former president of
Johnston and Pauline
Waugh for their efforts.
research eras, details and dates to ensure this society. She has been a freelance
that editorially the work is accurate. editor and teacher of editing courses
Writers can lack the vitality to cooperate for many years.
in the late stages of editing. continued on next page
2 Blue Pencil, January/February 2005
continued from page 2
Robert Pullan With book contracts, I have been I itemise what I imagine the tasks
For books, the liability for defamation, giving members of the Australian will be. It is pretty edifying for people
is invariably on the author. The author Society of Authors advice about how to know what it is we do and it is a
promises to pick up both their own and to ﬁx up the ﬂaws in the publishing really good task for us to list ‘I do this;
the publisher’s costs should there be a contracts for 20 years. The commonest I do that; and then. . .’ Talk about the
suit for defamation. Your responsibility, question that I hear about contracts is hierarchy of the tasks—the level of
my responsibility, as editor is simply to ‘what does this mean?’ edits: ‘I do a light, I do a medium, I do
identify bits which might be defamatory Publishers are not famous for the a heavy edit, I involve this, I do a style
or breach of copyright or contempt of lack of ambiguity, the clarity, the plain sheet. . .’ Tell them what you do and
court. Don’t worry—I have never heard English of their contracts. In fact, book they will be encouraged.
of an editor being sued; an editor of a publishers are considerably behind There is a list on, I think, the
newspaper—of course, an editor who banks and the dear old NRMA on the Canberra website which talks about the
is the head of a publishing house— road to plain English. I guess it is partly value editors can add. It is a fabulous
certainly, but never a text editor. because of inertia. Everybody knows thing to just wave in front of people and
Contempt and breach of copyright at some level that plain English saves say, ‘When we talk about edits you may
are much less common than defamation, a lot of money but who is going to get think it is just crossing t’s and dotting
which is published material which the credit for saving that money? Is it i’s but this is really what you are hoping
tends to injure reputation. If you say going to be the executive who decides for. This is how I can save you.’
that Robert Pullan is an underground to do something about it and calls in an
drug dealer who corrupts the Premier expert or is it going to be the expert on Q: I am new here and I was lucky
of New South Wales—that is the staff? enough, when I ﬁrst arrived in
certainly defamatory. If you even say Nothing is being done, now, for the Australia, to get a job from a very big
I am incompetent, that is defamatory. cause of plain English even though the accounting ﬁrm to edit a book that
Anything which adversely affects a lack of it costs the Australian economy they were doing. After completing
reputation and is not legally protected an estimated $2,000 million dollars the job and submitting the invoice
may put you at risk. a year. Perhaps before the end of the they told me: ‘I am sorry but we
If something, especially a reference election campaign we will have some cannot pay you unless you have an
to a person, makes you ﬂinch, point it creative politician talking about it. ABN number’. I said ‘What? Should
out to somebody responsible, probably you have said that to me upfront?’
the publisher, and ask the question Robert Pullan advises members of and they replied, ‘Yes, probably’.
‘might this be dangerous?’ I have found the Australian Society of Authors on Anyway, I did get an ABN and they
in years of teaching and editing that publishing contracts. paid me without further problems,
the material which makes the reader but is this common in Australia?
wince is often defamatory and should RP: Yes, it is a business number which
be looked at. signiﬁes to the Tax Ofﬁce that you are
Question and answer
The thing that you cannot defend serious about what you do; you are not
against is the mistake. The commonest session with the a hobbyist. If you do not have the ABN,
mistake in newspapers is mistaken and it is certainly preferable to have the
identity: a reporter convicts a witness ABN, they will deduct 45 per cent. So
instead of the accused. There is little you can do without it and get 55 per
that newspaper editors or anybody else Q: Is there an industry standard cent of your fee or get an ABN.
can do about errors like that. What you range of fees?
want is the wrong done remedied as SK: The range is extraordinarily large. Q: I know that some publishers have
quickly as possible. It goes from $25 an hour to $100 an budgets of maybe $2000 dollars for
The courts and the judicial system hour. I would think for someone who editing a book but I never seem to be
in New South Wales and the other has a reasonable amount of experience able to earn that much. Why?
Australian States have made no that anything less than $40 an hour is SK: The point is that there are
effort to have the quick remedy to the derisory—it would very much depend people doing work for less. Let us be
wrong done by defamation in those on what you are doing. If you are doing honest, there are. So we can be very
circumstances. The emphasis is on a great deal of rewriting you need to courageous and we can be very bold
intimidating writers to stop them be charging more and if you are doing and think, well I will send a quote.
saying what they know to be true project management you certainly need But there will always be people who
and sculpting the ﬂow of information to be charging more. If you are doing will undersell. The more we work to
through courts, royal commissions, proofreading, and this seems a paradox raise the profile the less that is going
ICAC, Parliament House—all of these to me, people seem to charge less for to happen.
are completely protected. But material proofreading—although I think the Where you can make a difference is
written by poets, lecturers, scientists, skills are as intense as they might be to start talking to managing editors and
historians and biographers is not for editing. So it really is a personal
protected. judgement but that is my range.
continued on next page
Blue Pencil, January/February 2005 3
continued from page 3
to senior editors and to publishers and Q: Almost every job I have done as book looks to have sold out as there are
say, ‘I can do an edit for a grand but this a freelancer has been a kind of two- none in the warehouse and there appear
is the quality of the job you will get’. So for-one deal involving a really good to be few in the shops. They ask about a
people will sometimes respond, ‘Okay, language edit because the writing is reprint. The publishers may have none
I would rather you, as an experienced terrible and a really good copy edit in the warehouse but they want to wait
person, do a light edit than someone because usually there is something quite until they see the books ‘sell through’
who works cheaply do a bad edit. . .’ complex in the material. When you say the shops. That is, there are still a lot
something, it sounds like whingeing. I of books out there that may come back.
Q: I was just wondering if accreditation am wracking my brain for something The publisher decides not to reprint
could possibly make a difference to new to say because it is not sustainable; and this means, unless the book starts
that. People would know there was a burning yourself out doing double the selling like hotcakes, that is the end of
grading system and that they would amount of work for such paltry pay. Do the book. The author may have spent
be paying a set amount for a ‘grade you have any ideas? two or three years on their book and it
A’ editor whereas for a ‘grade B’ they RA: Nobody ever promised that you has gone off the market within three to
are paying less. This might make it would become wealthy as an editor. six months. They get a month or so of
easier to quote and also to have people JS: No. Ten years ago when I was publicity time and then it is someone
know what they are paying for. involved in costing books, the minimum else’s turn. The book shops only want
SK: Yes. I think it is most likely that print run allowable where I was, was to keep what’s current. It is brutal and it
people will recognise this is a certiﬁed 4,000 or 5,000 copies but it is often is not getting any easier.
profession and you expect to pay higher now. If the book did not make RA: I would like to remind you that
because there is a standard that has been between $1,200 and $1,500 proﬁt, the writer who is successful in being
veriﬁed. I think it should encourage then the book did not get published. accepted for publication may pay
people to go for accreditation. Now $1,200 to $1,500 is not a lot for for the cover, although the publisher
RA: I would like to say that there are a publishing company to make on the decides what is going to be on the cover
many people who are not accredited whole publishing process. There may and what the title of the book is going
who are going to get work. have been fat built in somewhere in the to be. The writer does not really have
I have worked for a publisher costing formula, but still, they couldn’t a say in that. The writer will pay for
whose thinking is still in the 1960s. survive if every book made only that the index, will pay for the artwork, will
You are going to get, maybe, a 500- amount of money. If the editor then pay for many different aspects of the
page manuscript on some erudite asked for another $500 or $1,000, the work which previously the publisher
subject such as Australian wildlife book didn’t make the company any would have paid for. The writer quite
that has been researched. You learn a money. The problem with Australia is often does not have the ﬁnances to pay
whole new vocabulary for it. You buy that it doesn’t have the population. privately for an editor to go through the
the dictionary and a text book so you Much of Australian publishing done work and yet sometimes the publisher
can deal with it but they want to pay through the international companies is will ask for edited work. This is the
you the equivalent of what turns out marketing- and sales-driven. Most of ordeal of the writer, who may have
to be $10 an hour because they will the publishing comes from overseas been developing the thoughts that
not acknowledge that all this work is product and the marketing and sales go into that book for anything up to
in order to make a readable book for people have a lot to say. In the parent twenty years.
students at the university. You have companies overseas, publishers and This is why I say to you, in another
done your darndest but they are still editors generate most of the money way, gently gently when working with
thinking that you are ‘only an editor’. for the company by the books they writers because you are not treading on
And you are only an editor—whether commission and they have more say. For someone’s typewriter, you are treading
you have an A grading or not—if the much of the time, Australian publishing on their souls. It is a great privilege
publishing house does not believe in has been the poor relation. It is not just to be sharing someone’s writing and
the quality of editing. that Australian publishers are stingy, they someone’s thoughts and if they do not
There are publishing houses that do often literally do not have the money. say it the way you say it—who cares? It
not use editors. They prefer to market In America, the booksellers pay for is not your work, you know.
than to use editors. They do not use freight of the books and other things. The other side of the process is the
proofreaders either. They use the disk Here the publisher pays for everything. publisher. The publisher is lucky to get
that is sent to them from the person who The books are sold on a sale-or-return eight and a half per cent gross after
wrote the work and has designed it. basis and can come back up to six months everything has been paid. The book sits
later although the books may not have for six weeks, maybe, on the shelf in
made any money or even paid for the the shop. Think of the time you have
author’s advance. Just ask the authors. put into the work and the writer has put
Kathy Kramer More than the editors, the authors often into the work and it sits six weeks on
Sue Cartledge get a raw deal because of the bottom the shelf, if it is lucky enough to get
line. After three or four months, their onto the shelf. So those of you who are
continued on next page
4 Blue Pencil, January/February 2005
ACCREDITATION VOTE CARRIED IN ALL STATES
Members of all State and territory societies of editors have voted in favour of the
introduction of accreditation for Australian editors.
A secret ballot on the scheme developed by the CASE Accreditation Working Group
and accepted by CASE was held during late November to early December 2004.
Some 400 (29 per cent) of the almost 1400 society members eligible to cast a vote did so.
The vote to adopt the accreditation proposal was carried nationally by 307 votes to
91; that is, for every vote against the proposal, there were 3.4 votes in favour of it.
Since the members’ vote was overwhelmingly in favour of the proposal, CASE is now
seeking the endorsement of the executive committees of all state and territory societies
to proceed forthwith towards implementing a national accreditation program.
CASE will be meeting in Melbourne on 12 to 13 February to discuss this and other
matters and we will keep members informed of progress.
Council of Australian Societies of Editors
continued from page 4
thinking of becoming writers, do not Defamation is the generic term: libel copyright, or the bundle of rights that
mortgage your houses or your units. is written; slander is spoken, except that copyright is. Until you alienate those
It is a painful trip and it is one that is when you speak on television and radio rights, until you sell them by contract
often not rewarded. I think we need to slander becomes libel because that is or until you give someone else rights
be respectful of how far we walk into where the money is. over them by agreement spelled out or
that writer’s life and just how much implied by conversations or actions,
we decide that what we have to say is Q: I have a question about copyright, you own all the rights. In your case,
better than they say it. mostly it relates to marketing and certainly, there is an implied contract
corporate writing. I am not quite but ascertaining what the terms of it are
Q: I have a legal question. What is sure where the copyright rests. I is the difﬁculty.
the difference (if there is a difference) recently put together a booklet for a
between defamation and libel? Does company and did not even address the Q: So, it is a good idea, obviously, to
it have to be untrue to be libellous or copyright issue with them. Someone always address the copyright issue?
if you say something that is true but from another company asked if they RP: Yes. Always make it clear. Spell
is taken offence to, can you be done could buy the contents of the booklet. out what rights you are selling. I have
for libel? I have no idea, as the author, whether been guilty myself of selling freelance
RP: ‘Defamation’and ‘libel’for printing I can go back to the original company journalism and not signing a contract
purposes are identical. Defamation and say ‘I wrote this; the copyright with publishers. The only issue which
used to cover slander but nobody sues rests with me’, so I can then sell it to worried me was the money. If The
in NSW for that any more. the other company. I did the job on a Australian publishes a piece of my
In NSW it is a complete defence freelance basis but did not negotiate freelance journalism and sells it to The
to say that it is true and for the public any ownership at the time. Times in London, I want some of that
beneﬁt. In Victoria, truth alone is a RP: There would be an implied money. But, if I am selling it under no
defence. The difference between truth contract but to ascertain what the terms agreement at all, just an exchange over
being a defence and truth plus public of that implied contract are, you would the telephone, I am not going to get a
beneﬁt is so tiny that you could not have to go through the exchanges, share of the action. I should be signing
slide a cigarette paper through it, but it the conversations, the letters (if any) a contract. In freelancing, many people
has been the major difﬁculty between between you and the initial publisher. waive their rights.
NSW and Victoria coming to an Under Australian law the creator
agreement on uniform defamation law. has copyright axiomatically. No act Because we have limited space,
I am sorry to say that it does not look of registration is necessary. Just by highlights from the September forum
like it is going to be any time soon that putting the words on paper the writer/ will be continued in the next edition
we are going to get over that. creator or illustrator/creator owns of Blue Pencil.
Blue Pencil, January/February 2005 5
N E W S , N O T I C E S A N D
CASE Editing in RydgesRiverwalk.pdf).
A history of ’Black
Context conference: Registration (received before 31 Dog’ competition 2005
13 to 15 October 2005 January 2005) includes all conference
materials, lunches, morning and The Black Dog Institute is holding a
The Editing in Context conference afternoon teas . writing competition.
will be held in Melbourne on 13 to 15 Costs for attending the conference Entries are to be in the form of a
October 2005. Conference organisers are as follows: written essay (of between 1500 and
will be calling for papers in April/May • Australian Society of Indexers 5000 words) and must address the
and early-bird registrations will open Member: $363 history of ‘black dog’ as a term used
around July. • Non Member: $440 to describe depression. Prizes will be
Details will be available on • One day / speaker registration: awarded for the three best entry essays:
the website <www.socedvic.org/ $225 1st place will be awarded $5,000, 2nd
editingincontext/> If you have any • Cindex Workshop, Thursday, 17 place will be awarded $3,000 and
suggestions or questions, please contact March: $70 3rd place will be awarded $1,500.
the conference convenor, Lan Wang, at • Conference Dinner, Friday, 18 The closing date is 31 January.
<firstname.lastname@example.org>. March: $77 For further details about this
• Guests for Conference Dinner, competition see the ofﬁcial website,
Indexing conference Friday, 18 March: $77 w w w. b l a c k d o g i n s t i t u t e . o r g . a u .
A late fee of $55.00 will be charged
18 to 19 March 2005:
for registrations if application is Writers’ Week, Perth
engage, enlighten, received after 31 January 2005. International Arts
enrich To register, download the
registration form in PDF (79 KB - http:// Festival: 17 to 23
The Australian Society of Indexers will www.aussi.org/conferences/2005/ February 2005
hold its next conference in Melbourne RegistrationForm.pdf) and fax or mail
at Rydges Riverwalk, Richmond, to the Conference Ofﬁce. Guests for the 2005 Writers’ Week,
from Friday 18 to Saturday 19 March Contact Margaret Findlay for further part of the Perth International Arts
2005. Full details can be found on the enquiries, email: ﬁndlay@acer.edu.au Festival, include Bill Bryson, David
society’s website, <www.aussi.org>. <mailto:ﬁndlay@acer.edu.au> Mitchell, Marianne Wiggins, Pico Iyer,
The conference program is designed Phone: 03 9277 5549 or 03 9818 1760, August Kleinzahler, Liz Jensen, Salley
to consider indexing in a diverse range Fax: 03 9818 1760 Vickers, Gregory David Roberts, Don
of disciplines, not just the traditional Watson, Helen Garner and scores
indexing spheres of back-of-book The Asham Award more. They will be responding to the
and database indexing. The keynote Festival theme of ‘transcendence and
address will be given by Professor Neil transformation’. For further information
Archbold, Professor of Geology, Deakin The Asham Award 2005 to 2006, see the Festival’s ofﬁcial website <
University. The conference program the prestigious biennial short story http://www.perthfestival.com.au/>.
will be updated from time to time. For competition for new women writers,
the full program download the PDF celebrates its tenth anniversary with the Unwin Trust
(Conference Program - 119 KB - http:// 2005 to 2006 competition and a £1,000 UK-Australian Fellowship
www.aussi.org/conferences/2005/ bursary offered to the writer who shows
Conferenceprogram.pdf). particular promise and originality. Applications are now invited for the 2005
An optional Cindex workshop The bursary, which is in addition Unwin Trust Fellowship, which enables
conducted by Frances Lennie will to £3,600 prize money offered, is a member of the Australian book trade
be held on Thursday 17 March from sponsored by the Asham Trust and the to visit the UK for up to three months.
3 p.m. to 5 p.m. (Extra charge) Arts Council and will enable the winner All people working in Australian
The conference will be held at Rydges to travel, undertake research or study, bookselling and publishing are eligible.
Riverwalk, Bridge Road, Richmond or devote more time to writing. Applicants are asked to put
(www.rydges.com/riverwalk). Located The Award will be judged by Lynne together a proposal to carry out a
only 4 km from the Melbourne CBD, Truss, author of Eats, Shoots and project that will enhance their own
Rydges Riverwalk provides easy access Leaves, novelist Louise Doughty and understanding of the UK book trade
by tram to a number of local attractions. director of Booktrust, Chris Meade. and provide a means to increase
More information is given in the PDF The closing date is 30 January. understanding of each market by the other.
(Rydges Riverwalk - 150 KB - http:// For more information see the ofﬁcial It is envisaged that the successful
www.aussi.org/conferences/2005/ website <www.ashamaward.com>. candidate will have at least three years’
6 Blue Pencil, January/February 2005
C O N F E R E N C E D I A R Y
Society of Editors (NSW) Inc.
PO Box 254, Broadway NSW 2007; Voicemail: (02) 9294 4999
Editor: Catherine Etteridge
Assistants: Robin Appleton, Moira Elliott, Sharon Bridgett, Janice Beavan,
Printer: Complete Design, Marrickville
experience in the book industry and Published: 11 issues a year (including combined Jan/Feb issue)
a clear view of how the experience Your comments and contributions are welcome. Mail them to the Editor,
gained will beneﬁt their career. They Blue Pencil, Society of Editors (NSW) Inc., PO Box 254, Broadway NSW 2007,
should also expect to participate in a or email Catherine Etteridge at <email@example.com>.
number of workshop/seminars on their Copy deadline for the March issue is Wednesday, 19 January 2005.
return and to take part in brieﬁngs in The views expressed in the articles and letters, or the material contained in
the UK if appropriate.
any advertisement or insert, are those of individual authors, not the Society of
The judges will be looking for
Editors (NSW) Inc.
original and constructive proposals,
and applicants should also provide a
timetable and approximate budget. It Advertising rates
is expected that time spent in the UK Full page, $150; half page, $80 (horizontal only); one-third page, $50 (vertical
will be between two and three months. or horizontal); quarter page $40 (horizontal only); one-sixth page, $30 (half of
The trust will provide funding for
one column). Inserts: $75 per hundred for DL-sized or A4 pre-folded to DL size.
travel, accommodation and so on, up
Circulation: approximately 375.
The inaugural fellow in 2003 was Membership
Lorien Kaye, who spent three months
Membership of the Society of Editors (NSW) Inc. is open to anyone working
in the UK researching the UK book
trade and focusing on collaboration as an editor for publication (print or electronic documents) and anyone who
between publishers and booksellers. supports the society’s aims.
Her report can be found on the APA Membership runs for a calendar year. 2005 fees are $65 for new members
website at <www.publishers.asn.au>. ($40 if joining after 30 June) and $60 for renewals.
The 2004 fellow was Rebekah Cohen To obtain a membership application form, phone (02) 9294 4999 or write to
from National Gallery Publishing in PO Box 254, Broadway NSW 2007. You can also download an application form
the UK. She is currently completing from the society’s website at <http://www.editorsnsw.com>.
her project in Australia on museum
and gallery publishing. Listing in the Editorial Services Directory
Applicants should provide: a The society’s Editorial Services Directory is available online at
detailed career CV, at least two <www.editorsnsw.com/esd/>. New listings and updates can be added
written references and appropriate
quarterly as follows:
conﬁrmation from employers that
sufﬁcient leave of absence will be • online only: July (deadline 30 June); October (deadline 30 September)
granted. • print and online: January (deadline 31 December); April (deadline 31 March).
Please apply in writing to Susan The cost is $40 per year ($20 for new listings received from April to September)
Bridge, Director, APA, Suite 60/89 in addition to the fee for membership of the society. New listings should be
Jones Street, Ultimo NSW, 2007. submitted using a template available from Cathy Gray at <firstname.lastname@example.org>.
au>. Applications must be received by Committee meetings
30 January 2005.
All members are welcome to attend the society’s committee meetings. Please
The Unwin Charitable Trust
actively supports book-related contact a committee member for details if you wish to attend the next meeting.
projects in the UK and it owns Book
House in London, which is home to
the Publishers Training Centre and
Blue Pencil, January/February 2005 7
SOCIETY OF EDITORS (NSW) INC. Professional development
2004 COMMITTEE Onscreen editing: a project approach
Presenter: Bruce Howarth Date: early 2005
President: Pauline Waugh
Email: <email@example.com> With all the problems and pleasures of working onscreen, it is easy
Phone: (02) 9968 2644 to forget that the actual editing is similar to hard-copy editing. In this
0414 682 644 workshop, we’ll go through the main steps of a project to see how
Vice president: Shelley Kenigsberg the computer can help (or occasionally hinder) the process.
Phone: (02) 9130 6752 We will discuss basic onscreen-editing techniques, including styles,
Email: <firstname.lastname@example.org> templates, ﬁnd and replace, tracking changes and comments, outline
Secretary: Bruce Howarth view, version management, coping with big documents—and more.
Phone: (02) 4731 5406 (h) To help you master the techniques and tricks of editing onscreen,
Email: <email@example.com> the workshop will have discussion and practical sessions. Each
participant will have a computer.
Treasurer: Janice Beavan
Phone: (02) 9660 0335 (h)
Fax: (02) 9660 9375 (h) MS Word: advanced editing skills
Presenter: Bruce Howarth Date: early 2005
Membership secretary: Bruce Howarth
Phone: (02) 4731 5406 (h) To help you work more efﬁciently, Bruce will show you how to use a
Email: <firstname.lastname@example.org> few of Word’s powerful, complex tools. He will introduce each topic
General members: and participants will then have time to work through examples. Each
Robin Appleton participant will have a computer.
Phone: 0414 645 103 (message)
Peter Arnold Because of the holiday break we have had difﬁculty
Email: <email@example.com> arranging dates for the onscreen workshops. Dates
Sharon Bridgett will be posted on the website early next week.
Email: <firstname.lastname@example.org> For more information about the society’s
Moira Elliott workshops, please email Pauline Waugh at
Email: <email@example.com> <firstname.lastname@example.org>.
Newsletter editor: Catherine Etteridge
Phone: (02) 9555 4071
Publicity coordinator: Terry Johnston Call for contributions
Meetings coordinator: Deborah Edward
Email: <email@example.com> Have you been to an
coordinator: Pauline Waugh interesting conference or event?
Assistants: We welcome your contributions to
Website coordinator: Jo Healy-North We would like to publish your
Editorial Services Directory coordinator: articles, book reviews or letters.
Phone: (02) 9331 4731 Please email the editor at
Catering ofﬁcer: Julie Stanton <firstname.lastname@example.org>
Copy deadline for March issue:
Wednesday, 19 January 2005
8 Blue Pencil, January/February 2005