Monthly Archives: January 2014

Caveat editor: beware the e-plagiarist

A cautionary tale for editors, writers, and all website owners

By Arlene Prunkl, freelance editor

Avoid-plagiarismI’m proud of my website. Other than my work itself, it’s the best advertisement I have for my freelance editing business. My site is a reflection of my integrity, my work ethic, and my commitment to editorial quality: it’s a reflection of me. So you can imagine my reaction when, in late 2010, I discovered that some of my content was being passed off as that of five different editors in three different countries. This is a cautionary tale of how I first discovered that my website was being plagiarized, and what I did in response.

So what happened? What caused me to discover that my original website content was being stolen?

Not long before, I and a colleague were discussing a mutual project when we began to talk about the difficulties of maintaining control over intellectual property. She mentioned that she had recently started to use a plagiarism-detection service called Copyscape to ensure that content from her website was not being pirated. I decided to try it for myself. I went to, plugged in the URLs of my pages that I wanted to check, and Copyscape scanned the Internet for other pages with identical content. That’s when I discovered the theft.

The searches revealed that five editors—one from Canada, two from India, and two from the US—had plagiarized different chunks of text from my website, in one case an entire 455-word page. To add insult to injury, three of the five plagiarists’ websites claimed to write and edit website content as part of their services. And the one―let’s call her Polly Plagiarist*―who had copied my 455-word page had shamelessly stuck a “Protected by Copyscape—Do Not Copy” banner at the bottom of every page on her site, along with the tag, “copywritten [sic] 2010.” I checked Polly’s website further, and not only did basic writing errors abound—shocking for a someone who calls herself an editor—but she claimed to have a master’s degree in English. I was horrified to be associated with such an appalling lack of ethics on top of such a dearth of editorial skills. If this were not so egregious, it would be laughably ironic. But I could hardly laugh; I was furious. I felt violated, as if my home had been broken into and robbed.

I wrote to all five offenders, asking for an apology and for the removal of the copied content. Three of the five complied, excusing themselves by claiming they were too busy to write their own website content and had hired someone else to do it—as if that excused them from any responsibility for the theft. But really? Editors who advertise writing website content but who can’t write their own content? More irony.

Was the problem solved? Alas, it was only beginning. Only a few minutes after I contacted her, Polly Plagiarist had removed my page from her site, slapped up a new page of content, and written back to me professing remorse. Her excuse was the same—too busy to write original content so she hired someone to do it. Suspicious of the speed with which she had replaced my words, I decided to check her new page with Copyscape too. Sure enough, she’d turned right around and stolen the “new” content from another site. By then, beyond incredulous, I ran Copyscape on all her other pages, discovering that two more pages on her site had also been plagiarized from other sites. I e-mailed the owners of all three pages, which eventually resulted in Polly removing all of her plagiarism, but not without a pathetic e-mail to me demanding that I stop “harassing” her or she would sue me. Really? Polly evidently needed some education in legal matters as well as in editorial matters.

Double theft
Polly and the other plagiarists, in their ignorance, seemed to think that if they removed my pages from their sites, it would make the problem go away. Unfortunately, what they failed to realize is that it is not simply a matter of illegally copying someone else’s intellectual property. The plagiarized words remain in Google’s and other search engines’ caches for weeks, even after the stolen content has been removed from their sites. Moreover, Google frowns on duplicate Internet content, and I could be penalized with a drop in rankings if Google thinks I’m the copycat thief.**

Another disturbing aspect of these thefts is that the plagiarists not only stole my words, but they also stole my highly developed, painstakingly written, search-engine-optimized paragraphs. These pages took years to become established in Google searches, and it takes ongoing work to maintain rankings. This is double theft: first the words, then piggy-backing on my well-researched optimization and taking advantage of my highly ranked website. And until Google’s spiders stopped finding the cached words that were stolen from me, I continued to be associated with the plagiarists’ shabby sites. This was like five crippled, corrupt pirate ships forcing a stronger vessel to tow them along because they couldn’t Online-plagiarismfunction under their own steam.

Perhaps the most reprehensible aspect of this behaviour is that it came from people who call themselves editors. Among most professional editors a silent code of ethics exists that states we will not tolerate plagiarism in any form, and we will hold the laws of copyright to the highest standards. To violate this code is to damage the reputation of not only the plagiarists but of all editors, to demean the editing profession as a whole. It becomes difficult for an author to trust any editors when a few unethical ones have no qualms about lying, cheating, and stealing.

What you can do
If you discover yourself to be the victim of plagiarism, you have several options. You may consider legal action, but this can be expensive, and only you can decide if it’s worth the money and trouble. If this isn’t a viable option for you, try the following:

1. Read Copyscape’s tips. First go to and read the tips in the “Responding to plagiarism” link. I’ve elaborated on some of their tips below.

2. Use the Squeaky Wheel website. On this site, you can post a complaint about the plagiarizer that will appear close to his or her website in search engine results. In addition, the offender will receive an e-mail notification each time your complaint letter is viewed. I know from a colleague that this can be an effective solution.

3. Invoice the plagiarizer. If the plagiarism is still not removed, try sending a polite message and an invoice to the offender for whatever you deem suitable as damages, including stress and time spent trying to eradicate the plagiarism. If no response is forthcoming, send the invoice by registered mail. If you still receive no response, your next step is to inform the offender that you will be taking the invoice to small claims court. By this time, the person will probably be taking you seriously, and will have hopefully agreed to remove the plagiarized content. If not, follow up and pursue the claim in small claims court.

4. Contact Google. A further measure you can take is to contact Google. Under its section on duplicate content, Google suggests the following: “If you believe that another site is duplicating your content in violation of copyright law . . . you can request that Google remove the infringing page from our search results by filing a request under the Digital Millennium Copyright Act.” Read more about duplicate content here.

5. Take the issue public. Your final—rather drastic—choice is to further take the issue public using the Internet. However, I would suggest talking to a lawyer before things devolve to this stage. In these instances, the damages to the offender can be severe, as in the case of the 2010 Judith Griggs/Cooks Source copyright infringement violation that was exposed and went viral online when Griggs refused to pay a nominal amount for the material she plagiarized or to apologize to the original writer ( In the aftermath of this ferocious scandal, Griggs’ shady editing career was ruined—likely forever.

6. Use a plagiarism-detection service. The simplest way of protecting the content on your website is to use a plagiarism-detection service so that anybody who is thinking about stealing your content thinks twice. Research the many plagiarism-detection services available, find one you like, and place plagiarism-warning banners on each page of your site, alerting people that your content is being monitored. As the saying goes, the best defence is a good offence.

7. Review the plagiarizer’s business on Yelp. Yelp is a website with business listings in many countries. Find the offender’s country and write a review of their website, mentioning their unethical and illegal theft of your intellectual property.

8. Does the plagiarizer belong to a professional association? While that’s unlikely, it’s worth checking out. If they do, then report them to the association immediately.

Plagiarism-detection services
How they work. Thousands of plagiarism-detection services are available to choose from: a cursory search on under “plagiarism detector” yielded about 900,000 hits. Some services detect website plagiarism, allowing you to plug in the URL of the page you want analyzed or to do batch searches of your entire site; others detect plagiarism in “offline documents,” allowing you to upload individual documents for analysis. Still others do both.

What they cost. Some plagiarism-detection companies offer no-frills free services (often as a gateway product for their for-fee services); others charge on a per-use basis; still others charge an annual subscription fee.

I discovered Polly and my four other plagiarists by using Copyscape’s free service. You might also consider signing up for one of its for-fee services: Copyscape Premium or Copysentry Standard. Copyscape Premium is a search-for-fee service that allows you to see a complete list of potential matches (unlike the free service, which restricts potential matches to ten per search). It costs $0.05 US per page. Copysentry Standard is an automated service that scans the web each week, looking for copies of an entire site. This costs $4.95 US per month for up to ten pages; each additional page costs $0.25 US per month.

Plagiarism has been going on for millennia, since humans first developed systems of writing. And despite the high moral esteem in which most editors can be held, there will always be people with negligible scruples in our profession, as in every field of work. But while the Internet makes plagiarism so much easier for intellectual property thieves, it also makes plagiarism detection so much easier. Caveat emptor and caveat editor.


I originally wrote this article for a 2011 issue of West Coast Editor, the newsletter of the Editors’ Association of Canada’s British Columbia branch. It has been reproduced with permission here, with a few modifications.

* If you would like the real name of Polly Plagiarist, please e-mail me and I’ll release it privately. You’ll want to avoid hiring this person.

** Since writing this article in 2011, I’ve learned a few things about Google Authorship, which can help reduce plagiarism by verifying you as the original author of your content.

♠ ♠ ♠

book and manuscript editing

Arlene Prunkl is a
and the owner of PenUltimate Editorial Services
You can find her on , , , and Facebook
January 30, 2014



I welcome all comments. Please note that Disqus is a secure commenting system requiring moderator approval, and it may be a short while before I receive notification of your comment, approve it, and reply. Thanks for your patience!



    Book Genre(s):
    Warning: Invalid argument supplied for foreach() in /home/content/19/3329219/html/wp-content/themes/Pen_Ultimate__template/archive.php on line 78

Your 4-point checklist for hiring a freelance editor


By Arlene Prunkl, freelance editor


1. Your budget
2. What you can expect

3. Your search
4. Your research

So you’ve finished your masterpiece. You’ve had it reviewed by peers, beta readers, a few trusted friends. You’ve revised and revised, written a second draft or even a third, polished some more, and at last you feel ready to release it to . . . no, no, not the world! What you need next is a freelance editor—and you clearly already know that because you’re reading this article. Every writer needs an editor. But it’s confusing and sometimes overwhelming out there in the world of editorial services, and perhaps you’re unsure of how to go about hiring a freelance editor. Following are four steps to help ensure you find the ideal editor for your manuscript.

But first, congratulations on your decision to hire an editor. With the rise of self-publishing and the ease with which anyone can see their work in print and e-book form today, too many unedited manuscripts are being submitted to POD or e-book companies like CreateSpace, Lightning Source, Lulu, or BookBaby. The overall quality of these books is inferior (just read some Amazon reviews), resulting in a lingering stigma attached to the word “self-published.” It follows that the more authors who hire a freelance editor before self-publishing, the faster this stigma will disappear. And increasingly, hiring a freelance editor doesn’t only apply to self-publishing authors. If you’re seeking an agent with the goal of finding a traditional publisher, you’ll discover that many agents today will request that your manuscript be edited before you submit it.

Hiring an editor is one of the most important business and creative decisions you’ll make in the process of getting your book to market. You owe it to yourself and your readers to hire the best editor you can find for your manuscript. It’s also a hefty financial investment that requires careful research and consideration. With that in mind, let’s take a look at what you need to think about now and as you’re taking this big step.

1. Your budget. Before hiring an editor, first consider your budget for the entire project, not just the editorial portion. Some authors approach me with the notion that once they’ve finished with the editing, they’re ready to publish, without further costs. They haven’t researched the other steps of the publication process. You need to factor in some or all of the following: one or two rounds of editing, cover and interior page design, proofreading after page layout and design, printing or uploading, distribution, and marketing. In addition to an editor, you’ll likely need to hire specialists for several of these areas. (To learn more, visit my page describing the editorial process.)

So plan ahead. Determine your overall budget for the  project, allotting a certain amount for each step. Then find an editor who can work within the editing portion of your budget. The more homework you do, the better your chances are of getting the most bang for your buck in each of these stages of the publication process.

2. What you can expect. Of course, you expect professionalism. To that end, check the editor’s credentials and references carefully, using the tips in point #3 below.

Then, besides examining an editor’s credentials, use your intuition and your gut feeling about his or her personality. You want to hire an editor who seems like a collaborative person, open to your suggestions, your ideas, and your style. You want to hire someone who’s in tune with you and your writing, someone with whom you feel comfortable right from the start, someone who will advocate for your book. Personalities differ, and not every editor’s ideas mesh with every author’s. Your editor’s energy should match your own, and you have every right to expect that your editor will be empathetic, gentle with criticism, and ethical. The human touch is an intangible, but something you’ll sense if you’re paying close attention.

Don’t expect a freelance editor to be available immediately. Although some may be, many good editors are booked several months in advance. Hire your editor as far in advance as possible.

When submitting a sample of your writing or the full manuscript, you should expect complete confidentiality regarding the content of your work. Ethical editors never breach client confidentiality.

During the edit, you can expect that your editor will have ideas to contribute to your manuscript that hadn’t occurred to you. Working with a freelance editor will likely shed light on areas of your manuscript you haven’t thought to examine. You should be open-minded and ready to consider, if not embrace, any recommendations your editor may have.

Expect criticism. This is a biggie. The unvarnished truth is that a good editor is a critic. You’re paying good money to receive criticism from a professional with the goal of improving your work. Hard as it may be, try not to be sensitive or to take things personally. But—and this is important—you should expect your editor to deliver the criticism in the kindest possible way, gently, constructively, with positive suggestions for improvement. Your months or years of work should be treated with care and respect. And you should expect to come away from the edit enlightened and excited to move ahead.

Expect to do revisions. This is another biggie. Some authors contact me with the misconception that once the first pass of editing is complete, the manuscript is now ready to become a book. But not quite yet! Your editor will make many suggestions for change and improvement, and you’ll need to go through the manuscript word by word, meticulously revising as needed. In some cases you may have to move scenes around or rewrite entire chapters. Revisions are a big part of the editorial process that first-time authors sometimes neglect to factor in.

Hiring-editor-online3. Your search. So where do you find your ideal editor? Remember that not all editors are created equal. You can go about searching for a freelance editor in several ways. Following are your main options.

•  Search the Internet. Type in key phrases like “editorial services” or “manuscript editor.” If you go this route, once you’ve found a potential candidate, make sure you’re comfortable with the editor’s overall approach to business. Does her website tell you everything you want to know about her services, including prices? Does the site appeal to you on some level—perhaps you get a good vibe from the tone or the visuals? Again, use your gut. Does the editor appear to have experience in your niche or genre? Does she have lots of references you can contact? Assess her skill level and the type of editing she specializes in. You probably have a general idea of what level of editorial services you need. Developmental editing? Structural editing? Copy editing? If you’re unsure, see my definitions of editorial levels, then seek out editors whose skills match your needs.

•  Get referrals from other writers. Do you belong to a writers’ group, perhaps a LinkedIn group, or an online forum? Tap into all your writing connections and put the word out that you’re thinking of hiring an editor. You’re bound to get all kinds of feedback.

•  Look at membership directories in editors’ associations in the US, Canada, the UK, or Australia. (You can find these listed on my Resources page here.) Each of these has membership lists where you can search for editors with the skills you need.

•  Post the job. Posting on job boards like Elance or may be casting too wide a net, although you can certainly try them. Just be sure to be specific in your search terms. Better yet, each of the associations mentioned in my previous point has a job board where you can post the details of your job, along with your budget and any other considerations. The downside to this is that you’ll likely receive a small flood of résumés, and you’ll have to spend a good chunk of time going through them, testing the ones you’re interested in by having them do a sample edit, and examining and comparing the test samples. But that’s something you should do anyway, which brings me to the next step.

4. Your research. The next step is to narrow your list of potential editors to just two or three. As you’ve likely gathered by now, editors not only specialize in a vast array of genres and fields, they vary widely in their experience. For example, I typically work at the substantive, structural, stylistic, and copy editing levels with self-publishing authors on fiction and nonfiction; I also do proofreading. I don’t usually edit educational, medical, corporate, or government materials. A copy editor who deals daily with only the mechanics of the English language may not have the expertise to help you restructure your plot or develop your characters. Fiction editing requires additional skills.

Okay, so you’ve narrowed your list, found two or three editors with solid experience in your niche, and they appear to be skilled in the level(s) of editing you think you may need. Next, phone or begin an e-mail dialogue with each editor and listen carefully to determine their suitability. Discuss your project, and gauge their enthusiasm level. Once again, use your intuition. Does the editor’s energy match yours? Does she make you feel comfortable and relaxed? Does she sound knowledgeable? Discuss rates and prices. Do you get the sense that she is ethical? Ask to see before-and-after samples, which some editors may provide (with their author’s permission, of course). Submit a sample of your own writing and ask her to confirm what levels of editing are required. Ask for a small sample edit. From this sample and your total word count, a skilled editor will be able to tell you what kind of editing you need and what the estimated cost will be.

On your own, check credentials, testimonials, and references. Contact two or three of the editor’s clients to learn of their experiences with her.

Important: If you’re testing more than one editor, send each the same sample so you can make a direct comparison between their skills and editing styles. Some editors will do a free sample edit; others will charge a minimal amount for a sample edit. Don’t discount those who charge; they may well be the busiest, most experienced editors and perhaps more likely to do the best work for your needs.

Even though I have dozens of glowing author testimonials here on my website, I would be remiss if I didn’t add this caution: when doing your research, be a little circumspect about testimonials and recommendations from other authors. Because they’re not editors themselves, even though they may be satisfied with the editor’s work, authors may not truly know what constitutes a good editor. Of course, they’ll be able to tell you if working with a particular editor was a pleasant, rewarding experience, and that counts for a good deal. But ideally, try to get referrals from other editors, if that’s possible. If you’re considering hiring a certain editor, try contacting her colleagues or her association to verify her credentials. Get a feel for that editor’s reputation in the editorial community and publishing industry.

In all cases, do your due diligence. Put in the time and effort required to make an informed, educated choice. Editing will be one of the biggest investments of your journey into authorship (if not the biggest), and you’ll want to spend your editing money wisely. And finally, keep in mind that a good editor will always want you to get the greatest possible value out of your investment and out of your editing experience.

This post complements my website page How to hire a freelance editor.

♠ ♠ ♠

book and manuscript editing

Arlene Prunkl is a
and the owner of PenUltimate Editorial Services
You can find her on , , , and Facebook
January 15, 2014



I welcome all comments. Please note that Disqus is a secure commenting system requiring moderator approval, and it may be a few minutes before I receive notification of your comment, approve it, and reply. Thanks for your patience!


    Book Genre(s):
    Warning: Invalid argument supplied for foreach() in /home/content/19/3329219/html/wp-content/themes/Pen_Ultimate__template/archive.php on line 78

Starting 2014 with a gratitude list: 15 reasons I love freelance editing

By Arlene Prunkl, freelance editor

Starting off 2014 with a gratitude listI thought it would be appropriate to begin the new year on a positive note―with some gratitude. So for today’s post, I’m presenting a list of reasons I love freelance editing. I owe thanks to one of my authors, Rashad Pharaon, for posing the question, “What do you enjoy most about editing?” to me a few months ago and inspiring me to set my gratitude list down in writing.

After doing the same job for almost a dozen years, you might think I’d become bored with it, but the opposite is true. I love my work more than ever. To me, written language, along with music, is the most expressive of all the arts. No two authors have the same writing style, and the manuscripts I receive are marvelous in their variety. I’m often challenged, occasionally frustrated, and invariably astonished at the breadth and scope of the writing I edit. I’m never, ever bored.

Yes, there are a few downsides to freelance work: long hours, erratic paycheques, and no employee benefits. Steady work has almost never been an issue for me (on only one occasion, a client cancelled, and I was left without work, but I quickly filled that gap). So for me, the positives of the freelance life far outweigh these few negatives. I’ll begin with some of the more obvious reasons I love freelance editing and work my way to the most profound.

1. Being my own boss. Well, technically speaking, my clients are my bosses. I work extremely hard to please them. But beyond that, I answer to no one else’s standards, policies, and rules but my own. Yes, the responsibilities of owning one’s own business are far greater than working for an employer. If I fail at any aspect of the job, I have no one to blame but myself, but when I succeed, the rewards are mine alone to claim. There’s little greater professional satisfaction than a freelance job done well and a happy client. Job security? Well, I’m responsible for that. Arguably, there’s less job security when one is at the whim of an employer than in being self-employed.

2. Setting my own hours. I used to loathe the nine-to-five office regimen. If I’m passionate about what I’m doing, it doesn’t end at 5:00 p.m. And I’m not an early-morning person. These days, I prefer to spend my mornings doing an hour of outdoor cardio walking, then coming home and making coffee, answering e-mail, making phone calls, working on blog posts, and doing social media. I’m much more productive editorially from about 2:00 p.m. to 11:00 p.m. It might sound a bit crazy, but it works for me. Each day I set a goal of XX number of pages to edit, and I rarely fail to achieve that goal. I’m very self-motivated. And even though I know I’ll have to make it up later, I can take an unscheduled day off anytime I want.

3. Working solo from home. I’ve always found an office environment too restrictive. And when it comes to work, I’m a loner; I don’t work optimally with big teams in an office. Working at home alone suits my nature, and I never feel isolated because of my hundreds of editor colleagues and friends on Facebook. FB is our virtual water cooler, where we share anecdotes, trials, tribulations, and questions about editing.

4. Editing in my pyjamas. Seriously, I save a small fortune on clothes because I don’t have to go to an office every day. My only dress code at home is comfort; I can wear jeans and sweats and nobody cares. Bonus: no makeup or hair styling either. Of course, if I’m meeting with a client or colleagues, I do make every effort to look presentable.

5. No commute. Really, does anyone actually enjoy commuting? I gain one or two hours of productivity by not having to deal with the stress of commuting. I spend little on car maintenance, even less on gas, and I don’t pay for parking. And don’t get me going on the years I didn’t own a car and had to depend on public transportation. One cold winter in Vancouver, on my way to work on several occasions I sat freezing in a stuck-in-the-snow bus for hours.

6. Freedom to schedule personal tasks at optimal times. Most people have to fit in appointments, shopping, and workouts on their lunch hour. I have the flexibility to schedule my exercise, personal chores, and appointments during non-peak, non-lineup hours. More time saved and put toward work productivity.

7. No unproductive meetings. As a staffer with various large and small companies before my editing career, I sat quietly through many unproductive meetings, where mostly only the type-A personalities would be heard (not me!). Now, I schedule phone or in-person meetings infrequently, and only when a client specifically requests one. And even then, the meetings are productive because the client knows I’m charging for my time.

8. Control of my environment. No working in a cube farm for me. I have a beautiful office in a bright sunroom, decorated to my tastes with plenty of bookcases and . . . no desk. I’m much more comfortable—and productive—sitting on the couch with my laptop and my feet on an ottoman. In summer, I can be found working on my shaded, tranquil back patio.

9. Freedom to travel. I’m free to live and travel wherever and whenever I want, as long as I have an Internet connection where I’m heading because I always take work along with me. I used to laugh and say my dream was to edit on a beach under a palapa in some tropical locale, and the dream, once a joke, has actually come true for the past several winters. (However, I also learned that the reality doesn’t always match the dream: the sun’s glare and the heat, sand, wind, and other distractions don’t make for optimal working conditions. See my blog post on the hazards of editing on a tropical vacation here. Caveat: be careful what you wish for!)

10. Choosing the clients and projects that suit me. After almost a dozen years of freelance editing, I’m now mostly in a position to turn down manuscripts that don’t seem quite the right fit for me. I’m so well connected in the editing world that I can always find a more suitable editor for the job, leaving me to work on manuscripts that suit my abilities and interests.

11. The variety of projects. I’m not a person who can work at rote tasks day after day, year after year. My worst pre-editing job ever was mind-numbing (to me) data entry. I thrive on diversity, and you only need glance at my portfolio to see the enormous variety of genres I’ve edited in both fiction and nonfiction. And not only do I get variety in the subject matter with a new project every month or so, but there’s infinite variety in the challenges I face with each project because each author has a unique writing style. I embrace them all.

12. Learning new stuff. I’m a voracious, lifelong learner. Growing up, I was always the family member who raced for the set of World Book encyclopedias when a question arose at the dinner table. I’ve acquired a delightful mélange of knowledge through editing books on topics as diverse as numismatics, the tesseract, and Saudi Arabian geography, just to name a few. I’m on Google dozens of times a day during any given project, fact checking and also researching things I’m not as familiar or confident with as I’d like to be. There are few other jobs in which one is paid to read, research, and absorb a vast array of eclectic facts and bits of trivia.

13. I love the nuts and bolts of the work itself. I have a love affair with the English language and all its vagaries, nuances, and beauty. I get enormous satisfaction from reworking sentences, paragraphs, chapters, structure, plot, and characters and then fine-tuning and polishing them. I enjoy examining a poorly constructed sentence, for example, and almost instantly seeing a way to improve it. My mind just works that way with the English language. It’s very gratifying and rewarding.

14. Doing a job I’m good at and have an aptitude for. I am a dedicated, driven worker—it’s just my nature—and for two decades, I worked very hard in several careers including television production and classical music. But they just weren’t the right fit, and hard as I strived, I could never seem to achieve anything beyond mediocrity. When I became an editor, I knew instantly I’d found my life’s calling, my strength, my forte. I was a natural. I worked hard, as usual, but this time I excelled. It was only the second time in my life I’d found a passion, and this time I was able to turn it into a successful career. It is a rare gift to be able to carry one’s passion into a career and excel at it. Every day, I’m truly grateful for this gift.

15. Interesting, wonderful clients. Finally, and best of all, I take great delight in the variety of authors and writers I “meet” in my work (and I do meet some in person, although most often it’s by phone or e-mail). Writers are a fascinating bunch: smart, creative, entertaining, well-read, and the diversity of personalities I meet is endlessly stimulating. I’ve formed special connections with some of them that have lasted long beyond the editing work. In my travels, I’ve enjoyed the hospitality of my authors from various states, provinces, and countries, and I’ve had authors visit me where I live, purely on a social level. I cherish those bonds. In many ways, forming a strong author-editor relationship is the best part of my career.

If it isn’t more than obvious by now, I can’t imagine doing anything else but freelance editing as a career. And I don’t intend to stop working with the English language for a very, very long time. In fact, soon, I hope to do some volunteer work with a literacy organization where I live, returning some of the gifts I’ve been given to my community.

I’m so grateful for work that allows me to immerse myself in books. What about you? Would you like to share some of your own gratitude here? As a writer or editor, what aspects of your work are you most grateful for?

♠  ♠  ♠

book and manuscript editing

Arlene Prunkl is a 
and the owner of PenUltimate Editorial Services
You can find her on , and Facebook
January 2, 2014



I welcome all comments. Please note that Disqus is a secure commenting system requiring moderator approval, and it may be a few minutes before I receive notification of your comment, approve it, and reply. Thanks for your patience!


    Book Genre(s):
    Warning: Invalid argument supplied for foreach() in /home/content/19/3329219/html/wp-content/themes/Pen_Ultimate__template/archive.php on line 78