Northwest Independent Editors Guild

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For Portland meeting notes for meetings held 2004 through 2007, please visit the Portland Archives.
Meeting notes from 2008's meetings are available below.

Since 2008, no Portland Guild members have volunteered their time to organize meetings; if you may be interested in doing so, contact us at info@edsguild.org.

2008

August and October 2008: Open Discussions
June 2008: Internet Presence for Editors: Meg Grace
April 2008: Indexing: Cher Paul
February 2008: Tax information for the Self-Employed: Mary Spinnler

 

August and October 2008

Note: Charity Heller Hogge, The Mighty Pen, LLC, moderated the August meeting. We were on our own during the October meeting. Although I (Rosanna Mattingly) was the only one to attend both meetings, quite a few of the considerations raised during the August meeting resurfaced in October. This is a summary of the practices and suggestions highlighted during the meetings. The Guild’s site contains additional information about most of the issues raised on the resources page.

 

Rates

Many editors generally have different rates for nonprofits and businesses.
Some editors work for a flat rate on given projects, and some do work on a per-page basis. They suggest making sure that project information is nailed down before making such agreements.
Overhead is increasing, but most do not want to increase rates at this time.
For those needing to increase rates, take care that the increase not be greater than $5 per hour at a time and give plenty of notice.
Depending on the client, editors may need to charge the lowest rates regardless of background or experience.
Editors thinking of reducing rates because of the economy are generally advised not to even though this may translate into getting less work.
Some suggested rates are available at: www.the-efa.org/res/rates.php.

 

Contracts

Generally editors do not do a contract for small projects or with ongoing clients.
Consider doing a letter of agreement for relatively small projects.
Some editors ask for a retainer: e.g., one-fourth of the project up front, one-third of the project up front, one-half up front and one-half at the midpoint.
If the project goes longer than five weeks, consider billing monthly.
In a contract, ensure that either you or the client can pull out. Doing a monthly invoice helps with this.
If a project is to go over the original estimate, recognize this at least halfway through and communicate with the client.
If project cost is less than $500, ask the client to pay on receipt; if greater, pay within 30 days.
Contracts are not a guarantee of payment. Some editors have had contracts, yet did not receive pay for the work done. Some have gone to small claims court to recover some of what was owed.
Consider noting in the contract that, should there be a change in the quantity or quality of work, the contract will need to be revised. Contract language could include a statement that “if sample edit is representative of the whole, the estimate stands.”

 

Estimating

Many editors bill by the number of hours rather than pages, and need to see a sample to be able to provide an estimate.
Some editors do a sample edit, for example, of ten pages, to determine the amount of time the project will require. In this case, they may return only 1-2 pages of the original number until hired.
For estimating, ask for the roughest pages to review so that the estimate is conservative at the outset.
Be sure to inform the client quickly if it seems the project will go over the agreed-on amount.
Some editors do not interpret an estimate to be a firm quote; some clients do.
Some work is billed by project, depending on circumstances.
Many editors do one brief meeting/phone call free.
If coaching a client, take care to use Track Changes in Word.

 

Scope of Work

Take time to clarify responsibilities in projects prior to acceptance.
Particularly for writers who have not worked with an editor in the past, editors need to be clear that editing a manuscript is not a guarantee of publication. Much depends on the market and other factors, and editors may even want to insert language to reflect this into contracts.

 

Finding Work

Though not addressed specifically in the discussion—especially when first beginning to work independently, how is it that editors find work?
How does a degree in English compare with one in Journalism? In some cases, it may simply depend on the departments available at a particular school rather than a given course of study.

 

Professional Liability Insurance

A general liability policy does not cover errors and omissions. Policies that do so may be available, but are quite expensive.

 

Tax Time

Editors starting out have concerns about continuing to do their own taxes. In general, most editors appear to hire a CPA for this. (See archived notes from February 2008.)
Some editors suggest not claiming an office in the home because of the increased likelihood of having to go through an audit.
Experiences with having been audited range from painstakingly detailed to minimally invasive.

 

Volunteer Work

Ask for a letter of donation for taxes for any pro bono work.

 

Tangents

Errors can be introduced in many ways even after a project has been edited. Even so, most editors tend to question the material when errors are present.
Discussion of Eats, Shoots & Leaves and books since…
Cartoons in The New Yorker have not been good for some time now…
Considerations of Lorrie Moore’s Anagrams. Those interested in writing as well as editing may want to google her article, “How to Become a Writer.”
Some discussion of McSweeney’s…

 

 

—Submitted by Rosanna Mattingly

 

June 2008
June 2, 2008

Presenter: Meg Grace
Performer, Instructor, and Web Developer
http://thewebtiger.com

http://www.gracenotesmusic.org

Meg Grace began her presentation to the  Portland  group by setting up her music stand. Although most of us had just learned that she is a musician, she didn’t play for us. Instead, she used the stand for her notes and took us on a tour of the development of the Internet. Following this, she launched into a convincing discourse on why it is that we, as editors, would do well to create an Internet presence.

Some of us have been around long enough to have witnessed the astounding growth of the Internet from its beginnings in the early 1960s as a framework through which scientists might share research findings with one another, connected to no more than one other location at a time. The military grew the idea for its own communication. And the INTERconnected NETwork continued to develop through the 1970s with the evolution of e-mail and the TCPIP Internet protocol. Many of us cherished our first personal computers in the 1980s and learned to use browsers. Yet, few foresaw the development of the WWW. Meg’s own first modem worked at an amazing 24 baud/sec, a connectivity which, she says, is similar to a straw when compared to the sewer pipes of today. (For more on this, visit: http://www.computerhistory.org/internet_history.)

Meg believes that editors need Web sites. Everyone is online. And the range of social marketing sites and business networking sites continues to grow only larger. A sampling of these sites includes:

Delicious: http://del.icio.us
Digg: http://digg.com 
Facebook: http://www.facebook.com 
LinkedIn: http://www.linkedin.com 
Meetup: http://www.meetup.com 
MySpace: http://www.myspace.com 
Twitter: http://twitter.com 

A Web site enables potential customers to contact us, to learn about us and the services we provide, and to make purchases. All we need for the latter is a “buy now” button and an online shopping cart/invoicing system. Some of the current options include:

Brown Paper tickets: http://www.brownpapertickets.com 
FreshBooks: http://www.freshbooks.com
One shopping Cart: http://1shoppingcart.com
PayPal: https://www.paypal.com

 

Meg also notes that blogs provide additional ways for people to learn about and find editors.

In considering a Web site, Meg says the first step is to do some planning to flesh out the vision for the site. Consider the site’s functions, the needs to be met, and the desired level of interactivity. For example, decide whether or not to include articles or forms. Before building the site, Meg suggests that we imagine three potential visitors and describe what each does when they get there. Then repeat this same exercise for an existing customer.

Once the vision is formulated, gather relevant images, logos, graphics, company colors, photographs, writing, pdfs, links, product information, music, and movies. A movie of about two minutes in length can humanize a site in ways that no number of words ever could. Then decide on the content for each page. After materials are gathered, begin to sketch, brainstorm, doodle, and look at related sites. Allow the design to emerge from these considerations.

We then need to decide whether to design a site ourselves or hire someone to create one for us. In this part of the process, consideration of best practices recommended by the W3C is essential. As the organization states, “the World Wide Web Consortium (W3C) develops interoperable technologies (specifications, guidelines, software, and tools) to lead the Web to its full potential. W3C is a forum for information, commerce, communication, and collective understanding.” (From: http://www.w3.org.) We need to use valid code, meet accessibility standards, and be visible to search engines. These are important concerns, particularly because guidelines continue to change. (For example, use of tables and frames for page layout is no longer acceptable. The code for tables is verbose, so they are best limited to presenting tabular data only. And frames are discouraged, because they prevent a site from being indexed by search engines.) Many hosts provide templates for site design. In some cases, the templates are not W3C-compliant. Two popular hosts are:

1and1: http://tinyurl.com/546u8f
GoDaddy: http://www.godaddy.com/gdshop/default.asp

Meg gives 1and1 a “C,” because the site builder demo is difficult to use or modify. GoDaddy gets a “Pass,” as it provides no demo for actual testing. She notes that Do-It-Yourself sites in general tend to use tables and can be noncompliant.

 

If hiring out, Meg suggests that we make sure that the Web developer is compliant with Web standards, creates sites that are search-engine friendly, provides designs that reflect the individual person and business, and gives personalized, one-on-one attention and customer support. In addition, we need to recognize that, once online, the site will require updating. If we want people to visit and to return to the site, we need to take care to do this regularly. The updating is also something we can do ourselves or hire out. Content Management Systems are available to help with DIY updates, and include:

Adobe Contribute: http://www.adobe.com/products/contribute
Word Press: http://wordpress.org

Typically, these systems are based on the use of templates. Meg notes that Contribute uses the metaphor of a Web browser. The Contribute process involves opening Contribute, connecting to our site, browsing to the page to be altered, creating a draft of that page, making and saving any changes, and then publishing. Alternatively, as Meg notes, “Hiring a professional Web site developer frees your time, allowing you more time to be a professional editor.”

Among the questions asked during Meg’s presentation was one regarding the “miniature images” that appear before many current URLs. Meg says these are known as favicons (favorite icons) and provided a link for making our own: http://favikon.com. Another question involved what kinds of things we might do to ensure that Web browsers rank our sites as high as possible. This is a question that will require some research and is clearly a topic of interest for a future presentation.

Since she spoke, Meg has reviewed my notes and provided additional information, including the following suggestion: Use your domain name to brand your business online. Secure a domain name that reflects your business, i.e., mybusinessname.com. Then use it everywhere, especially for your e-mail address. Be aware that you don't need a Web site to use your domain name. Create an e-mail address that is your business identity on the Internet: myname@mybusinessname.com.

 

 

Submitted by Rosanna Mattingly

 

 

 

 

April 2008
April 7, 2008 
Presenter: Cher Paul 
Indexing & Editing Services 

"In indexing, there are many ways to be right." —Martha Osgood 

Although the technology of indexing has changed substantially from index cards to powerful software, the process—attentive, considered, creative—remains much the same. This process produces what Nancy Mulvany calls “a structured sequence—resulting from a thorough and complete analysis of text—of synthesized access points to all the information contained in the text. The structured arrangement of the index enables users to locate information efficiently.” It is the audience that matters here. As Cher Paul indicated during her presentation, every work begins with at least two audiences: those who have never read the work and those who have. An index needs to serve readers at many levels. 

Cher emphasized the importance of being taught, whether through a class or through an individual arrangement. Although she is self-taught, it was out of necessity; no other options were available when she wanted to learn. When she decided to incorporate indexing as a regular part of her work some years later, she took a class and found that her indexing improved tremendously. Among the many opportunities for learning, Cher mentioned several that she has experience with or that have received consistently favorable reviews: 

Kari Kells: www.indexw.com 
Sherry Smith: www.sherrysmithindexing.com  
UC Berkeley: www.unex.berkeley.edu/cat/course394.html  
USDA: www.grad.usda.gov  

Cher reminded us that instructors will specify materials to index during a course of training. Yet, for those who want additional practice in writing indexes and those who simply want to experience the indexing process, she recommended working with a used copy of a college-level introductory text in History, Psychology, or Sociology. These kinds of books lend themselves to indexing. They present material in relatively small chunks and provide substantive headings for sections. In addition, they are written according to the well-worn rubric of going-to-tell, telling, and telling-what-was-told. In preparing the index, first establish the aboutness of the material at the level of the book, the chapter, the section, and the paragraph. Then, place these considerations in the context of the range of subject knowledge and the audience. In essence, ask: What will the reader want? 

Two issues frequently encountered in indexing are the author-written index and the concordance. Cher noted that the indexing process is generally difficult for an author, who tends to be too close to the material to adequately represent the reader. A book is conceived and organized by its author according to how the author understands the material or believes the material is best explained. Even so, people learn differently, people use books differently, and people bring different levels of knowledge to a given topic. A good indexer is highly adept at finding connections within the material and providing multiple points at which to access the author’s information. 

The second issue, the concordance, is basically the result of a search-and-list program that searches a specified document for a given list of terms. The resulting list contains all the page numbers on which each term appears, but allows for no differentiation among entries. As Cher explained, if the text discusses cats and the concordance list includes the word cat, any pages that contain relevant terms (but not cat), e.g., Manx, Maine Coon, mitten toes, and mange, will not be included; this material will be unavailable to the reader. Further, a concordance allows for no differentiation among the given page numbers: every page on which the word cat appears will be 
listed after cat. Indexers do far more than create line after line of such page numbers (termed undifferentiated locators). A concordance is not an index. 

Cher brought several books for us to review, books that may serve well for reference: 

Mulvany, Nancy C. 1994. Indexing Books. University of Chicago Press. Chicago. 
Smith, Sherry L. and Kari Kells. 2005. Inside Indexing: The Decision-Making Process. Northwest Indexing Press. Bend, Oregon. 
Stauber, Do Mi. 2004. Facing the Text: Content and Structure in Book Indexing. Cedar Row Press. Eugene, Oregon. 
Wellisch, Hans H. 1995. Indexing from A to Z (second edition). H.W. Wilson. New York. 

She noted that, if there is one, the Mulvany book is considered “the bible” of indexing. 

For indexing software and other resources, google indexing software and check the American Society for Indexing web site. Among the software products available, three common ones are: 

CINDEX indexing software which has an interface like an index 
card. It is available for Windows 95 or higher, and has an update available for those who 
use Mac OS X. 
MACREX also works with Windows 95 and higher, and a new 
version is compatible with Windows Vista. 
SKY software has an interface that looks like a spreadsheet. Similar to other software products, a recent version is Windows Vista compatible. 

All indexing software is database software that has been specially designed for indexing, and all three of these products allow the indexer to view the formatted index while writing the current entry. Cher noted that each software package has a free downloadable demo. Although these downloads have limited functionality and capacity, they do provide users with a sense of how the software works. Low-cost student versions with nearly complete functionality, but limited capacity, are available also. Those who purchase a student version can apply its cost to the professional version. 

Cher is a skilled and experienced indexer. For her, a project generally requires that she make two passes through the material. She often begins by creating a detailed table of contents with subheadings and, on average, is able to work with 150–200 pages per week. In searches for 

opportunities to do indexing, Cher recommended requesting work as a freelance contractor. Otherwise the inquiry may be recycled at HR. In addition, make a request to be kept in mind for future projects and to be sent on to others who may be interested. That said, Cher noted that, even though the market for indexing is huge, it is not one that is easy to break into for those who work independently. 

In reviewing and helping clarify my notes from her presentation, Cher suggested adding that, although not discussed, work related to book indexing includes journal and periodical indexing, encyclopedia indexing, Web site indexing, embedded indexing, and taxonomy development. Indexing is a rich and varied enterprise. Additional information can be found at organization 
Web sites, such as: 

American Society for Indexing  
Australian and New Zealand Society of Indexers 
Back Words Indexing, Novice Notes (scroll to bottom and click nn) 
Indexing Society of Canada
Pacific Northwest Chapter, American Society for Indexing 
The Society of Indexers 

submitted by Rosanna Mattingly

 

 

 

February 2008

Speaker:
Mary Spinnler, EA, LTC
A-1 Income Tax & Bookkeeping, Inc.
7810 SE Johnson Creek Blvd
Portland, OR 97206
503-777-1040

At the February meeting, Mary Spinnler, enrolled agent and licensed tax consultant, spoke about issues for 2007 taxes. These notes are not meant to provide tax advice. Please do your own research or consult a tax professional like Mary, who is self-employed and understands the needs of independent contractors.

Major changes for 2007 federal taxes include the Alternative Minimum Tax (maintains the same threshold for 2007 only), the mortgage insurance premium deduction for 2007 only (depends on your adjusted gross income and your indebtedness on your first or second home), and the federal residential energy credit for such improvements as energy-saving windows, exterior doors, insulation, central air conditioning, and solar water heating.

Requirements for deducting contributions are now more stringent. Receipts are required for all cash contributions (cancelled checks or acknowledgements from the charity); noncash items must be in good or better condition. (The Salvation Army Web site has lists of items with their thrift store values.) Any item valued at $500 or more requires an appraisal. A good idea is to take photos of everything donated.

IRS audit issues include business deductions for mileage, meals, cell phone use, computer use, and miscellaneous business expenses. If cell phones and computers are not used exclusively for business, Mary suggests keeping a log of their business use. She also suggests noting your odometer reading at the start and end of each year whether or not your car is used exclusively for business. That reading will be compared to the business mileage deducted.

The IRS is also aggressively auditing returns showing gross income less than $10,000 and a net loss. In addition, the IRS is questioning whether information on Schedule C pertains to a business or a hobby. Criteria include whether it's conducted for profit, if gross income exceeds deductions for three out of five years, the manner in which the taxpayer carries on the activity, the expertise of the taxpayer, time and effort spent on the activity, and the history of income and loss with respect to the activity.

If you work within the TriMet area, you may need to pay TriMet tax. Download instructions and the form from Oregon.gov.

Submitted by Sue Mann

 

 

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