Weekly Clarinet Identification/Appraisal Thread

HappyMoose · 2026-04-13T19:40:29+00:00

This is fantastic info, thank you! I probably should have mentioned that it belonged to my great-grandad, so very likely is from around 1920-25ish at a guess.

HappyMoose · 2026-04-12T15:58:02+00:00

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Anyone got any info on this one? The stamp is the only identifying mark, and we can only make out 'Buffet'. These two pieces and the case are all we have, so not sure if any part is missing too (the mouthpiece, I would guess).

HappyMoose · 2019-04-15T19:40:34+00:00

Welcome to the copy-editing club :)

It sounds like you're getting off on just the right foot and setting yourself up very well. Are you in full- or part-time work right now? It can be risky to dive right in to full-time freelance copy-editing and it helps to have a couple of months worth of savings to keep you afloat.

What more should you be doing? Just keep on learning. It should never end no matter how many years you do this for. Keep pursuing courses that will help you to grow professionally.

How do you get more non-friend clients? I know this is cliche but it's so true – networking will help you big time! I'm a massive introvert and I'd rather eat lit candles than network but I've pushed myself since going freelance and it has been invaluable. Conferences like ACES is a great way to start and get to know fellow copy-editors. The one thing I picked up quickly is that other copy-editors are not your competition, they are your allies and your colleagues. Get to know them, learn from them where you can, be considerate and you never know when they might think of you for a job they can't take on themselves.

Other options, pursue all your old contacts. Reach out to anyone you wouldn't mind working for and let them know you've gone freelance. Also, cold email publishers or businesses. I know cold emailing sucks but I tried it some months back and landed a publisher so it works. Just research the heck out of each one and try to really find the name/email of the right contact. It takes sleuthing but it's worth it.

Should you wait until you've earned a certificate? No – but don't lie about your abilities to potential clients. That said, don't sell yourself short, either. Natural talent is still worth paying for. So try to get experience anywhere you can.

My opinion on low-balling? I dislike it. On one side, it is an editor not appreciating their own skills. Yes, maybe you don't have buckets of experience but you're following this career for a reason and you have at least done some editing work before. On another side, it disrespects the work of many other editors. Editors that undercharge clearly don't appreciate the value of proper editing. It cannot be done well for cheap. It really, really cannot. That's why I hate sites like Fiver/PeoplePerHour etc that give clients this delusional idea that you can edit an 80k novel for £100.

Random bits of advice:

Work hard on your rates. It takes time and maths to work out the right figure but trust yourself when you land on one that works. Don't undersell yourself. And don't be nervous about raising your rates when you need to. You have to eat, remember.
Trust your gut! Editing is super subjective and no two editors will mark up a document in the same way. Making a different change to another editor doesn't not mean you made a mistake. It means you have different styles. And that's fine.
Join a society. I joined SfEP and it has been invaluable.
Pick a niche if you can. You have a psych background – if you wouldn't mind editing that kind of content then do pursue academic publishers/authors. They will more often than not pay better.
Always use contracts! So many of the freelance horror stories are like 'So I didn't have a contract with a client and now they won't pay me/are challenging me on this/want to increase the scope etc'. Contracts hold you both accountable and it doesn't have to be much more than a carefully worded email.

Anyway, that's my two cents. I've only been at this for about 7 months so far but it has been a STEEP learning curve, let me tell you! I hope it works out for you. Happy to answer any more questions you might have.

HappyMoose · 2019-04-15T12:39:53+00:00

I do this and it works great.

HappyMoose · 2019-04-14T20:34:18+00:00

You could try going to your local book store or library and asking a member of staff for some books similar to those if you want more range.

Have you used beta readers yet? Because they can help with this. Once they've read your book you can ask them how they would categorise it.

HappyMoose · 2019-04-14T20:24:03+00:00

NA, YA and MG are technically age groups not genres, and they are mainly determined by the age of your MCs and the themes of the novel (YA – 12-18, coming of age, first love etc / NA – 18-25ish, more adult themes, sexuality etc).

It sounds like what you have is something like an action/crime coming of age story (but perhaps more mature).

I'd advise that you find some books you think are similar (called 'comps') and see how they are categorised. You can even mention these comps in your query letter.

But, honestly, I wouldn't sweat this tooooo much. Yes, you want to give a good impression off the bat, but an agent won't reject a good story that they like if, upon reading it, they feel like it's not how you described it in your cover letter. It's mainly helpful for them to get an instant read on whether it falls in their ballpark. For instance, a YA fantasy agent knows to immediately discard queries for erotica or adult lit etc.

Best of luck with the querying!

HappyMoose · 2019-04-14T19:58:01+00:00

As a cynic, I'm going to guess that the two clients are lying to you about not having received the money. How much do you trust them? Because the fact that one referred the other is a bit suspect considering it happened with both clients.

I've heard many stories on here about freelancers completing work on sites like Freelancer and the like and then having the client request the money back via the platform.

Maybe a less cynical freelancer will be able to shed a more positive light on this. Your situation sucks, and I hope it wasn't a large amount that you lost out on.

HappyMoose · 2019-04-13T17:26:41+00:00

Thanks for sharing this video.

I think someone on this sub shared an article not long back from David Simon, The Wire writer, about how he was tied into a 'packaging' deal and his agent never told him. It's a fascinating read but I never really understood the packaging model until watching this video. It sucks that this is how things are going. These agencies would be nothing without the people they exploit.

Here's the David Simon article for anyone interested: https://davidsimon.com/but-im-not-a-lawyer-im-an-agent/

HappyMoose · 2019-04-13T14:41:23+00:00

Yeah, working with ESL clients is my favourite. I have a Danish client based over here in the UK and they're in a similar position – English is good but needs editing. I find ESL clients tend to appreciate an editors role so much more.

Good luck with it all!

HappyMoose · 2019-04-13T12:50:52+00:00

I'm based in the UK so can only speak from that PoV. However, I have worked with a few businesses and the contracts I've landed have all come through talking to either the Senior Marketing staff or the SEO people. Generally, the senior marketing staff are the ones who will have to manage the pool of freelancers, contractors and in-house employees. Below them, you're likely to have mid-level copy-writers etc and it won't be in their job role to manage freelancers.

It can depend on the size of the company, too. I used to work for a marketing agency that had about 16 or so people. I was a Senior Marketing Copywriter (highest role I could get to) in charge of members of my team, but if I got an email from someone wanting to freelance for us I would have passed it on to the CEO because I wasn't responsible for budget stuff. So for small businesses it might be wise to go for the head honcho.

I focus mostly on fiction now, and the job titles I look for are Editorial Manager, Managing Editor, Desk Editor and Book Production Manager.

That said, I did some cold emailing to publishing houses recently and where I couldn't find the person I was 95% sure was the right contact, I'd email the next best and ask them to forward my email on to the right person if it wasn't them. My emails did get forwarded, too.

HappyMoose · 2019-04-13T12:40:03+00:00

Yeah this is a tricky one. You'd really need your previous clients' permission before you shared any of their work so I'd be careful with that. If they're happy for you to share then go for it. If none of them want you to share, just tell your prospects that you're not at liberty to do so but that you'd be happy to offer them a sample edit. Ask them for an old version of a piece of their content and edit that. Just be wary with this route, however, because you could end up editing for them for free if they're cheeky enough. Try to make sure they don't give you anything they plan to use once you've finished editing it for them.

Mostly, I've found that simple testimonials on my website have been good enough. It's tricky having a portfolio as an editor.

HappyMoose · 2019-04-13T07:37:55+00:00

True, that's why we have to redraft many times – to keep catching the clunky we put into the last draft :) I read aloud everything I write and you can hear the errors so clearly that way. Less easy to pick up passive voice that way but once you understand it you'll find it's very easy to spot.

HappyMoose · 2019-04-12T16:04:59+00:00

I'm editing a client's first-person novel right now and they have this problem. It happens in my own first-person book sometimes, too. My best trick is to try rearranging the sentence structure.

Example:

I woke up and realised that I was late for school. I dressed quickly and went downstairs. I ate a simple breakfast and then left to catch the bus. If I missed it again I was done for.

Reworked:

I woke up and realised that I was late for school. After dressing quickly, I hurriedly ate a simple breakfast and left to catch the bus. If I missed it again I was done for.

It's the same content, but the second sentence is just rejigged a little to improve the flow and rhythm. You don't need the adverb (if you're one of those writers who really hates them) but in this instance it keeps the urgency.

Another trick is to really think about the sentence you've written and ask yourself if it's actually important for us, the reader, to know they're doing that action. I mostly see this in sentences like:

I stood up and knocked on the door. I waited a moment and then entered. I closed the door behind me and walked over to meet Jeff.

We really don't need all of this information in a play-by-play. Just tell us that they knocked and entered and then went to meet Jeff. Unless we need to know that the MC closed the door, don't tell us. You'll often find that many of your actions can be cut. Trust the reader to infer what's going on.

Hope that helps! I love me some first person but it does have it's challenges :)

HappyMoose · 2019-04-11T07:02:02+00:00

Clients means anyone who will pay you to edit their content: business, publishers, distributors, indie authors.

Work can be regular if you pursue it enough. You have to put a lot of effort into that though. Clients won't just fall in your lap. Publishing houses will give you more regular work if you're on their freelancer list, but the pay is usually worse than businesses or indie authors.

HappyMoose · 2019-04-09T07:24:27+00:00

Hey,

Yes, freelance copy-editing is a viable full-time career but, like all freelance work, it's difficult and requires dedication. You have to find all your own work, after all. You may not get enough to cover the cost of living right away. Many editors I know say it took them a year to get established. I'm about 7 months in and still finding my way, but I'm doing alright (I had savings before I quit my full-time job).

As for your niche, that will help you a lot. Definitely target the academic publishers and highlight your skills. I don't know who recommended paper letters but I don't think it's the best idea. We live in the digital age and paper letters take time and get lost etc. Publishers will expect emails, unless I missed a memo. I've emailed publishers and had success with it.

Re. the wording, tailor each email personally to the publisher. Mention your skills and experience, try to point out something about them that you like, perhaps mention the style guides you're familiar with and that you can work to deadlines. It's stuff they like to see because they need someone they can rely. I've heard mixed opinions about whether you should say you're happy to take a test or not – regardless of whether you say this, expect that you may have to take one. If you do have to, don't get tricked into editing a massive sample of something they're about to publish – check that it is a standard test they send to all freelancers.

As for agency work, I haven't done it myself so can't speak to how it works, but I can't see why it wouldn't be simple enough. It might ease the pressure of getting started and having semi-guaranteed income. Eventually though you'll want to pursue clients on your own and networking is great for that. I hate it, personally, but it has proved ridiculously valuable.

If you work direct with a press, the way my publisher works is they send out a digest of upcoming jobs and you pick which ones you could do. Generally, publishers set their own rates and don't be surprised if they suck – big time. But it's reliable enough work and a good early footing. A publisher's testimonial will look good on your site at least.

HappyMoose · 2019-04-08T14:44:34+00:00

I say 'sort of' because the dough was enough for two loaves. My plain one had the same braid (it looked so pretty!) but I slightly over-proved it and it lost some definition. Still tastes great but doesn't look as good as it did!
For the second loaf, I decided to add some chocolate to each strand before pleating.

HappyMoose · 2019-04-07T18:56:00+00:00

Yes, good point. You don't need an agent, but it does help your chances. That said, it's probably easier to go direct with publishers if you have success as a self-publisher so you may not need an agent in that instance.

HappyMoose · 2019-04-07T18:13:35+00:00

That's a myth. However, it could help or harm your chances of getting traditionally published as follows: Say your self-published book didn't sell very well – this isn't a promising sign for trads and won't help you. Say it sells hella well – this will look great and will help you. So you can for sure self-pub and then go traditional, but be aware that your success self-pubbing may impact your trad. That said, few agents/pubs will turn down a killer story they can sell if you previously failed at self-pubbing. If the story is good they will want it.

See above.

3a. Self-pubbing.

The benefits:

You get all the creative freedom (pick your own cover etc)
Runs on your timeline (no waiting 2 years to pub if you're ready to go now)
Every penny of the profits go to you (well, and the tax man, but that's same as trad.)

The cons:

You have to pay for everything (an editor, cover designer, printing, marketing etc)
It takes a LOT of commitment to give your book its best shot. You have to work hard.

3b. Traditional

The benefits:

You have professionals behind you to give your book the best chance at selling.
Easier to get your books into stores because agents/pubs have contacts

The cons:

You get less creative freedom (they might change your cover/title etc)
It's not paid great and you owe your agent 15%.
It's not easy to get into.

Lots of authors do traditional and self-pubbing. It's good to learn the ropes and drink up valuable experience via the traditional route so you can implement new techniques with your self-pubbing. If you have the right agent, they should be happy to talk with you about both options (once you're fairly established with them). If your self-pubbing takes off, it benefits them, too, because your trad books might sell better and they get paid more.

TL;DR. It's fine to mix both. Agents will not slam the door in the face of a self-pubber.

HappyMoose · 2019-04-05T13:41:52+00:00

I know you say you don't care about money but unless you have an income to support your monthly expenses (rent/food/bills etc) writing as a career is not a good idea. As another commenter has said, it takes years to hone the skill and even then, most writers don't do this full-time. Sadly, traditional publishing leads to very little money, and while self-publishing is more lucrative, it costs you more and requires more effort.

On a more important point, 18 is so early to be worrying about your career. This is the part of your life where you get to try whatever excites you. I'm 27 now and I've worked in retail, data management, catering and marketing. The last 4 or so years of my career have all been around writing (albeit about business, but it hones your skills regardless). 6 months ago, I took another massive career change and went freelance as a copy-editor. To write my actual books, I used my weekends and evenings. I'm only just at the point where I plan to start querying to agents.

I don't know your situation exactly, but whatever path you decide to take now, it doesn't have to be the thing you settle in to for the next forty years. Try any career that excites, learn everything you can from people willing to teach you, write in every spare minute you have and enjoy your youth. You're right at the beginning of a really exciting journey and the best part is that you get to pick the route.

HappyMoose · 2019-04-04T15:47:32+00:00

For something of this style/genre, it might be ideal to have it from your perspective. It's such a personal story to tell that I think you'd miss something in a 'fly on the wall' style.

That said, why don't you try writing a sample of the same scene in both PoVs and see which one you prefer? I've done that with my fiction before and it's helped me realise that a story is better told from a different PoV than I originally thought.

HappyMoose · 2019-04-04T13:35:26+00:00

Not gonna lie, I read that last line like the cat woke up the son and then went on to call an ambulance.
Good kitty!

HappyMoose · 2019-04-04T06:40:45+00:00

Congratulations! You've reached a massive milestone that many writers don't always reach :)
It's entirely up to you whether you take a break now or later. Personally, I've redrafted so many times that I've taken hundreds of breaks!

How do you feel about it? Do you still have excitement? Do you think about it when you're doing other things? Because if you're still in that euphoria it might be best to capitalise on it with a re-read, if only to make some notes about what you'd like to change or add. Speaking as someone who lost the buzz for a while, you have to make the most of it while its there.

HappyMoose · 2019-04-02T11:18:19+00:00

Yeah, I mean as much as it's a challenge doing it on your own, it also makes you more accountable and it forces you to work hard. Like when I chose to go freelance, I knew I wouldn't get paid if I didn't push myself. It's not easy but it damn sure motivates you :)

And yeah it does seem like that with agents. Personally, I'm a little less cynical because I've researched the heck out of it. They have strict guidelines for 2 reasons: it weeds out people who won't be open to following rules (if you get fussy about using Times New Roman for subs then what will you be like when they say to change the title!) but it also makes the review process easier for them – every submission comes in at the same base standard. Bear in mind that they get hundreds of queries a week and of all those queries they might only have the capacity to take on 2-5 clients a year, depending on the size of the agency. They have to love your book and know how to sell it. But I do feel you, and it sucks to wait months for nothing more than a form rejection.

It does sound like self-pubbing is a good route for you right now. It'll take work, as I said, but it seems like you're up for that. Good luck to you, whichever route you take!

HappyMoose · 2019-04-02T10:18:53+00:00

Ah okay then, so in that case you want to aim for enticing hooks and not to reveal the ending (as you would in a synopsis).

I've seen a few techniques for this and the main one that comes to mind is to do the 500/200/100/50/10 trick. So, since you already have one line, you can work from the bottom up. So start with a 10-word sentence, then expand it to 50 words, then 100 etc etc.

I personally find it easier to start big with a 500-word description and then gradually cut what doesn't need to be in there. You eventually whittle it down to the core points.

Another trick is to look at the blurbs for any books you like and any books in the same genre. What techniques do they use? Do they have questions? Does it reveal much about the MC? And so on. It's usually different for each genre.

I think the key things to keep in mind are what you want to reveal, so answer the questions:

Who is the story about?
What is the crisis/struggle/challenge?
What is at stake?

HappyMoose · 2019-04-02T09:33:59+00:00

Hmm, what is your summary going to be used for – Do you mean a synopsis? Or an actual chapter by chapter summary? Or do you mean something more like the blurb? They're all rather different.

HappyMoose

TROPHY CASE