My first task is framing myself. I learned this Yorkshire expression from my mum when I was a kid. When my mum said, ‘Frame yourself’, I knew she meant ‘Get on with it’, ‘Make sure you know what you’re doing’, and ‘Sort yourself out’. That’s how I approach all elements of my business. I need to frame myself – understand the context, be clear about my terms of reference, and get on with it. Framing myself is how I start every project. Understanding the client I typically proofread for traditional publishers, first-time self-publishing authors, and self-publishing authors who’ve published already. My process varies a bit for different types of client. Brief overview of how I proofread for traditional publishers Traditional publishers are very familiar with editing/proofreading terminology, and their expectations are clear. I know that their book will already have been edited and there’ll be a style sheet to accompany their house style guide. They’ll share their house style guide as well as the book’s style sheet so I understand exactly what’s needed. It is very easy to frame myself. My proofreading process for a traditional publisher is streamlined. I have templates for my checklists for each traditional publisher client. These reflect their individual house styles. Proofreading for independent, self-publishing authors The rest of this blog will focus on independent, self-publishing authors. First-time self-publishing authors Framing myself to work with a first-time self-publishing author needs a different mindset. To understand what a potential client needs, I provide a questionnaire. I also offer a free introductory video call. The questionnaire and video call give me the chance to ask important questions. For instance, have you worked with an editorial professional before (maybe a developmental editor or a copyeditor). Have you published before? If you’ve had a copyedit, I’ll use the copyeditor’s notes or style sheet so that I can ensure that you receive a consistent service. If I’m the first editorial professional to work with the book, you may need more support. If a style sheet doesn’t already exist for the book, I’ll provide one. That’s why I ask questions about the publishing context for the book. Self-publishing authors who’ve published already If you’re familiar with the self-publishing process, you may have already worked with a professional editor or you may be satisfied that you can rely on your self-editing process. You’ll need less practical support from me and the questionnaire will give me the information I need for consistency. 

What are prelims for your book and why are they important? The prelims (aka the ‘front matter’) are the pages that come before the main content of the book. For example, a list of other books by the same author, the copyright page and the contents page. Why are prelims important? You want to give your readers a good reading experience and, if you’ve set the stage properly, they will engage with your book, which hopefully leads to positive reviews. Setting the stage The prelims will set the stage for your book. They prepare the reader to receive the book – like the curtain at the theatre before the show starts. They guide the reader. For instance, the contents page is a map for the reader to follow through the book. Prelims give the reader key publication information. The title page and copyright page provide details about the book’s title, author, publisher, and edition. The prelims support legal and scholarly needs – the ISBN number, copyright notice, disclaimers. This is about proper attribution and protecting your rights as the book’s author. Who organises the prelims? If you’re working with a traditional publisher, they’ll generally organise them for you. They may include layout in their style guide, so there’ll be guidelines for consistency across all their titles. If you’re self-publishing, you’ll need to pay attention to your own prelims. When prelims become ‘postlims’ It’s important to note that some publishers may prefer to include conventional prelims as ‘postlims’. For instance, acknowledgements may appear at the back of the book. It’s a choice for self-publishing authors, though you may prefer to stick with convention. My top tip if you’re self-publishing is to check how prelims are laid out in any books you’re reading, especially books published in the same genre as the book you’re writing. This will give you guidance on what your readers will expect to see. Essential prelims Title page Title and subtitles of the books, author(s) full name(s) or editor’s) full names, and edition of the books. Copyright page Contains copyright information, the ISBN, edition details, publisher’s info, and legal disclaimers. This protects the author’s rights and helps with cataloguing. ⭐ If your book is a novel, it will need a different copyright statement from a non-fiction publication. After this point, you’ll see a difference between fiction and non-fiction prelims. Not all prelims are relevant for every book, whether fiction or non-fiction. This is an ‘it depends’ choice for an author. Prelims in fiction books (usually simpler) A list of other books by the same author Dedication A short, personal note from the author dedicating the book to someone. Acknowledgements A section thanking those who helped in the book’s creation (sometimes placed at the back as a postlim). Prologue A brief scene or background information before the main story begins. Maps If location is critical to the plot (like a murder mystery set in a rural location), or if the story is set in a fictional location (think about Narnia), maps may be helpful. Glossary This may be a list of characters and their relation to each other, or a list of definitions for concepts specific to the fictional universe. Prelims in non-fiction books (may be more extensive) A list of other books by the same author Table of contents (TOC or contents page) A TOC provides a structured outline of your book. It’s a map to help readers navigate chapters and sections. It’s essential in non-fiction and academic books, though a novel may be fine without a contents page. Foreword This is written by someone else (often someone likely to be familiar to the readers), explaining the book’s significance or the author’s credibility. Preface The author’s explanation of why the book was written and what the reader can expect. Acknowledgments A section thanking those who helped in the book’s creation (sometimes placed at the back as a postlim). For a research-heavy book this is likely to be used. List of illustrations/tables This helps readers find important visual elements. Introduction Provides background information and context for the main content (sometimes replacing the preface). Maps Where a geographical reference is needed to help readers understand the context and follow the narrative. Glossary A list of important words and their definitions mentioned in the book. Key differences between fiction and non-fiction prelims Fiction: You’ll find fewer prelims and they’ll be focused on storytelling. Prologues may be included, but contents lists are rare. Non-fiction: You’ll find more structured prelims, often with a foreword, preface, introduction, and it’s very likely that there’ll be a table of contents to aid readability and credibility. Prelims – what next? Consider how you want to set the stage for your book with your readers. I’ve talked at a high level about the conventional prelims that you’ll see most often. Not all prelims will be appropriate for every book. It depends! For more information I use Butcher’s Copy-editing (Fourth Edition) . I heartily recommend it. There’s a section about preliminary pages. My top tip for self-publishing authors is worth repeating: I recommend looking at the prelims for the book you’re currently reading, and any published books that fall into the same genre as your book. You’ll get a feel for what your readers will expect. **************************** 📚 Stop your readers getting distracted by wordy niggles. I’m Lisa. I’m an editor and proofreader, specialising in business books and fiction. I spent many years as a chartered accountant before retraining as an editor and proofreader. Now I get to embrace my degree in English Lit! Please do DM me to talk about editing or proofreading, or to be added to my waiting list. 

On Christmas Eve, I received confirmation that I have become an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP)! This means that I’ve demonstrated ‘a high level of professional competence and substantial experience’. I can’t begin to say how chuffed I am about this. This was a goal on my five-year plan and I’ve arrived a year earlier than I’d planned. APM has been in my plan since I started LdC Editorial in 2017.

A style sheet is about structure, consistency and efficiency

Starting from a question

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