Land on Demand Editing Proofreading Indexing: Open for Global Business: International Clients Welcomed for Editing, Proofreading, Indexing

What It Is (posts below left; rate sheet, client list, other stuff below right)

My name is Bob Land. I am a full-time freelance editor and proofreader, and occasional indexer. This blog is my website.

You'll find my rate sheet and client list here, as well as musings on the life of a freelancer; editing, proofreading, and indexing concerns and issues; my ongoing battles with books and production; and the occasional personal revelation.

Feel free to contact me directly with additional questions: landondemand@gmail.com.

Thanks for visiting. Leave me a comment. Come back often.

Thursday, November 19, 2009

Open for Global Business: International Clients Welcomed for Editing, Proofreading, Indexing

I'm working on a book from an Australian author who is doing a postdoctoral fellowship in Sweden and publishing with an outfit in London. He somehow found this blog on the series of tubes, emailed me, and here I am a few weeks later proofreading his book. I'm almost to the end of it, and I must say that it might be the best written, best edited, and best typeset book I have ever seen. And I work on 100-plus books a year. I've not yet told him my impressions of the work, so as not to jinx it in case the situation turns south on me, and no offense intended to the publishers who've been keeping the family fed and housed and educated for the last number of years.

The book is set all in British style, of course -- different spellings, which I can handle, and a punctuation system that has always given me fits. But I can tell at least that it's consistent.

Same type of scholarly tome that I'm accustomed to, but written in such a fashion that you don't even know you're reading an academic book. I really can't say enough about it. Oh, one more thing: it's actually interesting.

Why, among other reasons, do I bring all this up? Well, first off, except for Demand Studios, this work is the first that I remember that results directly from someone (who didn't know me before or was referred to me) finding the blog and contacting me. If it's happened before, I don't recall. And the Demand Studios deal was more a tale of my encouraging them to consider employing me, and that story in this forum resulted in the hire. 'Nuff said about that incident. So, this blog finally paid off in the book publishing field -- my usual realm of opportunity -- albeit in a small way (it's not a big book).

But I was speaking with a neighbor the other day, a retired military meteorologist who does some traveling. He just got back from Morocco and Spain and was railing about how this country is different than it was 50 years ago, and it's going to hell, and we're no better than a developing nation and on and on. And, oh, by the way, the dollar's in the toilet.

I've been wondering why this previously published Australian scholar with a British publishing house went trolling the Internets to find a proofreader (and Paul, you might be reading this; please don't take any of this the wrong way). And I'm not saying this is what happened, but it occurred to me this morning:

My labor is cheap.

Yes, perhaps after generations of conquest and colonialism and feeling like we had the moral imperative to tell the world how to act (when we ourselves were no paradigm for morality [oooh, watch out . . . keep it apolitical]), because of the situation with the dollar, American labor in certain respects might become a bargain.

In the case of Land on Demand editing indexing proofreading, all I can say is, "Bring it on."

Authors and publishers from Europe, Asia, Australia, Africa, and South America: I am open for business. Send your manuscripts and PDFs right here. I accept payments by PayPal. Get that cheap American labor while the dollar is low. Don't waste those precious Euros or rupees or francs, or whatever your local currency of choice is. My rates remain the same, and they're probably looking better to you all the time in comparison to what your local labor charges. For now anyway, my dollar is spending just fine right here, and I'm making no international travel plans anytime soon.

Live outside the United States? Need an American editor, an American proofreader, an American indexer? Drop me a line. Great editorial services cheap. What more can you ask for?

2 comments:

moi said...: Go, you! And I will leave off making an, ah-hem, poleetikal comment about what happens when a non-commodity backed currency is allowed to be bandied about by the rats of Wall Street like a helpless door mouse. I WILL say, however, perhaps it's not a bad thing.; November 21, 2009 at 9:21 AM
czar said...: I might not have been so wrong in my statement. Comment from the author:

"I have just made the payment. Yes, you are right, your service is good value with the US dollar low. However, just as importantly to me, the Aussie dollar is up. Only a few months ago the international press was reporting that the AUD was the 'whipping boy' of the world economy. Now it is close to on par with the USD, having added a full half its value from the low point. So things are good while I am travelling overseas.

"I'm sure I will be in touch about other projects sooner rather than later (I have an edited book on the history of Western Australia sitting there waiting to go - just confirming the final publication arrangements, and what services the Australian publisher can provide)."

And he says he's already recommended me to some colleagues and will continue to do so. Maybe my name will spread like some insidious chain letter.; November 21, 2009 at 10:18 AM

Rate Sheet

Bob Land's Rate Sheet

Note: Different rates may apply for self-publishing or overseas authors.

Copyediting—Take the word count of your manuscript and divide it by 265. That's a billable page. Remember to include footnotes/endnotes in the word count.

Electronic edit—edited files returned to publisher/author: $5+/page

Marked-up manuscript returned to publisher/author for keying changes—$5.25+/page

Typical turnaround time: 3–4 weeks from receipt of manuscript

Substantive editing—See above for determining page count.

Electronic edit—edited files returned to publisher/author—$6.25+/page

Marked-up manuscript returned to publisher/author for keying changes—$8+/page

Typical turnaround time: 3–4 weeks from receipt of manuscript

Higher editing rates apply for material that requires extensive rewriting or that includes complicating elements, such as massive reworking or cross-checking of documentation. Technical manuscripts (legal, medical, etc.) also subject to higher rates.

Contact me for bids on work if English is not your primary written language.

Indexing—Based on a 6x9 page; other page sizes adjusted proportionately

$5+/indexable page

$6+/indexable page for biographies and military histories

Typical turnaround time: 3–4 weeks from receipt of page proofs

Proofreading—based on a 6x9, one-column page; other page sizes and formats adjusted accordingly

Cold read—$2+/book page

Read against manuscript—$3+/book page

Typical turnaround time: 14 days from receipt of page proofs

Rush fees

Editing 25 percent surcharge for 8- to 14-day turnaround; 50 percent surcharge for 7-day turnaround

Indexing 25 percent surcharge for 7-day turnaround; 50 percent surcharge for 4- to 6-day turnaround

Proofreading 50 percent surcharge for 5- to 7-day turnaround; 100 percent surcharge for 3- to 4-day turnaround; if you need it faster than that, we can talk

I can accept hard copy sent to the address below, or PDF or Word files emailed to address below.

Copying fee (for example, if you want me to keep a copy of work that I’m sending): $.06/standard page.

Shipping charges paid by publisher/author. Preferred method is for publisher/author to provide shipping account number (FedEx or UPS); alternate: billed with final invoice.

All invoices payable upon receipt. 30 percent payable at start of project/task for new clients or self-publishing authors.

Brushes with Fame

1. An old friend had to remind me of this one, because he remembers more about my life than I do. When I was a youngster, I threw up on Johnny Carson in an NYC theatre. Would have been in the early 1960s. I have no recollection of the event, but from what my mother said, he apparently handled it well.
2. The family went down to Plains, GA, maybe around 2004 to sit in on Jimmy Carter's Sunday school class. Afterward people could line up for a photo op with the president and Mrs. Carter. As we were in line, Tere (my wife) said, "I'm going to give him a kiss." I responded, "Wonderful. I'll catch up with you after Secret Service breaks your kneecaps." As we stepped up to pose with the Carters, my darling wife, never a wallflower, leans over and pecks him on the cheek. He just smiled and said, "Right on!"
3. Backstage with Stanley Clarke, after Return to Forever performance, Atlanta, 8/2/2008. See photo below.
4. Internationally acclaimed artist Thornton Dial was bribed fifty dollars to let our family give him a ride home; Birmingham to Bessemer, AL. Dial is justifiably suspicious of white folks he doesn't know; actually, I might have to say that's one thing we have in common. I'm always happy when going to a party to see a good dog to engage in proper conversation.
5. Gave a very drunk John Fahey a ride to an Atlanta airport hotel after a depressing performance, during which he became progressively more wasted on stage and basically just babbled more than playing guitar. Among his comments were that his father-in-law offered to give Fahey some money if his wife (the guy's daughter) would lose some weight. The sight of seeing the slump-shouldered Fahey shuffling into the hotel carrying his guitars haunts me still.
6. Lunch with Jane Fonda at Bulloch House, Warm Springs, GA, the morning after she filed for divorce from Massa Ted. The first time I saw her was when she stepped out of the back of the car she was sleeping in at the home of a folk artist we were both going to see: the Prophet Jesse Marshall. (She had apparently been up all night.) Bulloch House is a southern-style buffet, which La Jane took to right away. No healthy eating there. She was quite angered when they removed her plate from the table while she had stepped away before she had a chance to finish what she'd put on there to begin with. After spending some time with our two boys, she offered to adopt them if ever anything happened to my wife and me.
7. Garrison Keillor rode in my car; spoke with him later at apres-performance dessert party, Abingdon, VA. Keillor was invited (paid) to give a fundraising performance at Barter Theatre, the state theatre of Virginia, where my wife works. They needed a big vehicle to pick up Keillor, so they borrowed my Chevy Tahoe. Quite tall Keillor apparently sat in the way back and spoke on the cell phone the entire time (I was not invited to be in the car to pick him up). For a while we could say that our car had his DNA in it, but then we traded it in on a Prius, which gets 48 miles a gallon -- a whole lot better value than having a car where Garrison Keillor once sat. He was very nice after his performance, though -- apparently totally against type. I told him that A Prairie Home Companion used to save my Saturday nights in the early '80s when I was working at the printing plant.
8. Physically bumped into Jack Nicholson upstairs at Sardi's -- the famous Broadway theatre district bar -- 1977; the occasion was an "audition" (that is, a fundraiser) for a play that some folks were trying to get produced. The playwright and composer and two of the leads they had cast were there performing all the songs. Maybe 20 people were there, sitting in folding chairs gathered around the piano. One of the songs was a little ditty called "Tomorrow." The play ended up being Annie. Why, as a 17-year-old, I was invited to this gig is far less interesting, but one of the oddities of my life.
9. A very slight brush. Back around 1978 when I was in college, some friends and I traveled from Atlanta to Huntsville, AL, because, before transferring to school in Atlanta, one of my friends had been instrumental in arranging for Hunter S. Thompson to give a talk at the University of Alabama at Huntsville campus. Because of my friend’s remaining connections at the UAH campus, we knew when Thompson’s plane would be arriving, so we prepared ourselves properly to meet him at the airport—kind of the unofficial welcoming party. So we are positioned in the concourse and see Dr. Thompson’s unique stride coming toward us (along with the official welcoming party of two or three students). There are three or four of us unofficial types—longhaired, eyes glazed, and mostly in awe. My friend says in his most cultured tone, “Ah, Dr. Thompson,” at which point we begin genteel applause, as if we are at a ladies’ tea party or piano recital. Thompson takes one frightened look at us and darts into the airport bar. We follow, and take up our spots at the table next to him and his minders, trying to glean what we can from the conversation, which is virtually impossible, because even at his best, Thompson speech is mostly incomprehensible. After about 15 or 20 minutes, Thompson gets up to leave, stops by our table, and says, “Sorry. I thought you were some of Wallace’s boys,” referring to former governor, presidential candidate, and opportunistic segregationist George Wallace. Looking at us, you would have hardly associated us with Wallace supporters, but we were happy for the moment of attention and humor from the good doctor. When we saw him the next day giving his talk for the students, I’m not sure I understood one of every 10 words he said, but as a brush with fame goes, the trip was well worth it.
10. Added starter: Once when I was ushering at the Fox Theatre in Atlanta (early 1980s), I heard the Grateful Dead perform "Let It Be" for their sound check. Deadheads who've listened to thousands of hours of bootleg tapes assure me that the band never played that song. Well, maybe not during a concert, but I know what I saw and heard, performed for about 30 ushers and the guys at the sound board, who seemed to be more occupied with the lines of coke in front of them. Jerry Garcia and Donna Godchaux singing, if you're keeping score at home.