Author: Iva Cheung

P-credit and e-credit

Following my entry last week about properly crediting all of a publication’s team members, Ric Day posted some very interesting information about the International Standard Name Identifier (ISNI), which would allow all of a publication’s contributors to be given credit within a digital work’s metadata, opening the door to a model such as the one Jeff Norton proposed in “Follow the editor.”

Whereas Day seems to imply that my suggestions and his are divergent, however, I see them as having exactly the same aim: ensuring that everyone who contributes to a published work be recognized, and in the process raising the profile of each of their respective professions. Credit is credit—whether it’s a line on a copyright page, in a masthead, or in a digital file’s metadata—and I do feel it’s worth pursuing.

I also don’t share his pessimism about publishers being unwilling to change their ways. First, all of my book-publishing clients credit the designer, and most credit the substantive editor, so clearly a precedent has been set. Those that don’t credit editors seem to be the exception. Most publishers don’t credit indexers, but I strongly suspect that it’s simply because they’ve never been asked; I see the problem as far from insurmountable.

Second, we’re in a key time of transition in Canadian publishing. Last year UBC Press, D&M, and Arsenal Pulp all celebrated their fortieth anniversary (was there something in Vancouver’s water in 1971?), and several other publishing houses were founded in the same period. Many have either completed or are in the midst of implementing succession plans, and coming into the industry are savvy, bright minds who understand that publishing must evolve in order to survive. This evolution includes adopting digital strategies and changing the way they interact with their human resources, both in house and freelance.

And with more and more authors wishing to self-publish, whether in print or digitally, we as publishing professionals are now in a unique position of being able to educate authors and define a new standard rather than having to resign ourselves to “this is how we’ve always done it.” Why not begin explicitly requesting a credit line (or an equivalent shoutout in the metadata) as part as your boilerplate freelance contract?

Credit where credit’s due

EAC-BC’s professional development co-chair, Eva van Emden, has posted some thoughts of her own about low-cost ways book and magazine publishers can help keep their freelancers happy, following my posts about the care and feeding of freelancers and maximizing your freelance editors’ marketing potential.

Her point about acknowledging a freelancer’s role with a credit line is an excellent one. Although most of my book publisher clients will credit at least the designer and substantive editor, and sometimes the copy editor, I’m well aware that doing so is not standard within the industry, and I think that, as minor a point as it seems, making it standard is something worth fighting for. Our work as editors should be invisible, but we shouldn’t be.

I appreciate that my editorial credits often pop up in Google Books results when people search for my name and that I can easily point prospective clients to Amazon’s Look Inside feature to show that I’ve worked on a particular book when my name appears on the copyright page. Not only does not including an editorial credit hurt my ability to promote myself, but it also hurts the profession. We aren’t doing ourselves any favours by essentially agreeing to pretend that editors don’t contribute to a book.

Although I understand why the proofreader may not be credited (or wish to be credited), particularly unsung are indexers, who are only very rarely acknowledged for their contributions. In a way, I can understand why—the tight timelines involved in indexing and the fact that the author and editor will modify the index often mean that the indexer does not have direct control over the quality of the final printed index, and since the index is occasionally added in at bluelines, having to modify the copyright page to add a credit would mean additional costs for the publisher. Mostly, however, I think it’s just inertia that has prevented crediting indexers from becoming standard. The indexer for Derek Hayes’s Historical Atlas of the North American Railroad (2010), Judith Anderson, was delighted to be asked if she wanted a credit, and Hayes, who designs all of his own books, has acknowledged the indexer on the copyright page of his atlases ever since. Associating the index with a name is especially important, I think, to show that a person is involved in creating the index—there’s a common misconception that indexes can be computer generated without human input, and, again, perpetuating that myth can only damage the indexing profession.

I’m not suggesting that we need some sort of overt advocacy campaign to change the way publishers operate (although organizations like the Editors’ Association of Canada and Indexing Society of Canada are in a good position to raise awareness of this issue), but if we all begin requesting credits when we work with our clients, we can begin organically to define a new standard for giving all team members their due.

Publishers: Are you maximizing the marketing capacity of your freelancers?

As I put together my post last week on the care and feeding of freelancers, I began to wonder why gestures like inviting freelancers to events and sending them awards news weren’t standard in the industry, and it struck me that most editorial and marketing departments tend to operate independently and too often don’t communicate with one another to refine their strategies. Although this division has its advantages—most editors and authors would be loath to have marketing weigh in on every aspect of a book’s content—it can also mean that publishers may be missing out on an easy way to get the word out about their lists.

In addition to pursuing traditional marketing channels, publishers should also consider taking some simple steps to fold their freelancers into their marketing plans. Why is this a good idea?

1) The editor of a book (or its designer or indexer) can be its most enthusiastic champion

In some ways, an endorsement carries more credibility coming from a freelancer, because, unlike the author or publisher, she has no vested interest in book sales and would be unlikely to go out of her way to promote a book she doesn’t believe in.

2) Everyone has a network*

Freelancers—introversion notwithstanding—are no different. Through social media they can effortlessly reach their contacts with news about their projects, and we’ve all seen how quickly and widely news can spread with social networks serving as a multiplier. Imagine a designer tweeting “Got my comp copy of History of Canadian Photography today. Printer did a beautiful job with the colours!” or an editor posting “Looking forward to next week’s launch of The Backcountry Cookbook at the Outdoor Store. I finally get to meet the author in person! The event starts at 7pm. Hope to see some of you there” and the early buzz that could generate.

What’s more, a freelancer’s likely to have likeminded contacts—people who enjoy the same types of activities, share the same interests, and read the same kinds of books—exactly the audience you want to reach.

3) Reaching out to freelancers helps foster a sense of teamwork and loyalty

And giving them a sense of ownership over their projects from beginning to end helps to encourage high standards and excellent work. Nurturing goodwill will help with freelancer retention, which will cut down on training and recruitment costs.

***

So how do you get started?

1) Develop a system to feed freelancer contact information to marketing

The in-house contact for freelancers—whether that person’s called the managing editor, production editor, or production manager—will have a record of who worked on each stage of a book, maybe even in a convenient format like a spreadsheet. Simply make sure that this information is passed along to the person coordinating event, award, and review notices, whose only added task is adding three or four email addresses to a contact list.

2) Develop a concrete policy informing freelancers about what information they can share and when

The term “policy” may be overly formal here—a simple FAQ on an editorial information site (like a wiki) would do. Freelancers—particularly if they’ve never worked in house—may be reluctant to share news about their work on a project because they don’t know if the publisher or author would approve. Letting them know in general terms what you’d encourage them to share will not only free them to publicize the book, but it will also tacitly help them understand the bounds of confidentiality in the author–freelancer–publisher relationship.

You may also want to list some important dates before which information must be held back—for example, the manuscript delivery date, catalogue date, or the pub date. For example, specify when it’s okay for a freelance designer to post a cover image on his blog.

All this said, it may not be wise to expect your freelancers to do any marketing for you. The reason some freelancers work on contract is so that they don’t have to be involved in all aspects of a book’s production and promotion. Make it easy for them to unsubscribe from notifications or newsletters, and consider any free publicity you do get from them gravy.

***

Ultimately, publishers have very little control over what their freelancers say or do; we can only hope that they will use good professional judgment and not post or tweet anything that will hurt the book, the author, or the publisher. Setting out these guidelines and improving communication with freelancers about marketing issues can only help your cause as publisher, though, and it carries a low risk with the potential for a high reward.

*Some of you will (rightly) point out the irony of my having neither a Facebook nor a Twitter account, but if you’re reading this, you’re part of my network!

Care and feeding of freelancers: a guide for book publishers

Those of us who have gone freelance understand that we’re not going to be coddled by our publisher clients. That said, if you’re a publisher, showing freelancers that you respect and value their work can go a long way to promoting a mutually beneficial long-term relationship. After all, although there seem to be freelancers everywhere who are trying to compete in this industry, anyone who’s ever had to build a stable of high-quality, reliable freelancers knows that it’s not so easy to find editors, indexers, and designers who will reliably uphold high standards for publishing’s relatively low rates. If you’ve gone through the trouble of testing and training a freelancer and are happy with his or her work, it’s in your best interest to retain that freelancer, and there are some very simple ways to show your appreciation for your freelancers’ contributions. None of these measures is hard to implement, and they all help foster freelancers’  sense of ownership of their projects and encourage them to continue delivering excellent work.

1. Send them a complimentary copy of the book

Nothing can replace the satisfaction of flipping through a finished book and seeing the fruits of one’s hard work. Sending a freelancer a complimentary copy should, in my opinion, be a given for trade publishers. Academic and technical publishers may not be used to sending their freelancers finished books, and the freelancer may not necessarily want them, but the offer should be made. The freelancer might want a copy for his or her portfolio, and, if you use that person again for a similar project (e.g., the next textbook in the same series), he or she will find having a reference copy on hand extremely helpful.

2. Invite them to launch events

Book launches and other book events give freelancers the rare opportunity to meet the author and in-house staff with whom they’ve probably exchanged dozens of emails. And let’s face it—along with the freedom and flexibility of freelancing comes isolation, and many freelancers would welcome an excuse to get out of the house and meet new people.

3. Send them award announcements, reviews, and other good news

Did an author send the company an effusive note after her book was published? Has the book an editor toiled over been shortlisted for an award? Did the Globe and Mail name it a best book of the year? Freelancers aren’t always plugged in to this kind of information, but they do always appreciate knowing about it.

4. Offer them feedback

Both positive and constructive negative feedback on their work can help both parties take steps towards perfecting a system that works well for everyone.

5. Apprise them of relevant company news

Reading news about staff changes and company restructuring in a publication like Quill and Quire may leave freelancers wondering how those changes will affect them. Be proactive in sharing the news, either by sending freelancers relevant press releases or including them on your mailing list for your external newsletter, if you have one.

6. Set up a freelancer account with your distributor so that they can qualify for discounts on books

I hope all freelancers in book publishing have had the opportunity to work on a book they loved so much they wished everyone they knew could have a copy of it. Setting up a freelancer account—akin to an author account—would let them order their own copies for a discounted rate. This idea may be a bit more blue sky than the others, as I haven’t seen it implemented anywhere, but in principle it’s not difficult. Through the freelancer account the publisher gets non-returnable sales without having to go through conventional bookseller channels, and with the discount your freelancers are more likely to buy copies for their friends and family—it’s a win-win.

Picture Research with MRM Associates: Recap

Yesterday I attended the much-anticipated EAC seminar on picture research, presented by Mary Rose MacLachlan and Derek Capitaine of MRM Associates. In addition to helping clients find the images they need for their publications, their company negotiates licensing agreements with copyright holders, clearing permission for their clients to use copyrighted text, images, and footage in their projects. MRM Associates works mostly with educational publishers.

The workshop was packed with information, and I wish it could have been an hour or so longer, as I had a list of questions I didn’t get the opportunity to ask. This summary is a mere sampling of the material the speakers covered, but I’ve tried my best to focus on the highlights.

MacLachlan and Capitaine began with an overview of copyright, starting with the Statute of Anne—the 1710 act of the British parliament that first defined copyright and served as the precedent for copyright acts in the U.S. and Canada. In Canada, copyright protects the creator of a work for the period between creation to fifty years after the creator’s death (after which it enters the public domain), and it is overseen by Industry Canada and the Department of Canadian Heritage. Whereas the U.S. has the concept of fair use, Canada has fair dealing, which is far more restrictive. For example, use of a copyrighted work as part of criticism falls under fair use in the U.S. but wouldn’t be permitted in Canada.

To learn more about copyright, MacLachlan and Capitaine suggest consulting the Copyright Advisory Office at Columbia University or following copyright experts Michael Geist and Lesley Ellen Harris. Michael Geist focuses on Canadian copyright, and his site has some interesting articles about Bill C-11, which proposes some significant changes to how copyright is assigned. For instance, whereas currently the copyright of a work-for-hire image taken by a photographer is held by the entity that hired the photographer, if Bill C-11 is passed, the photographer would retain copyright.

Determining whether permission is required underlies what MRM Associates does for its clients. Naturally, clients want to save money, and so knowing sources of low-cost images and images in the public domain is important. MacLachlan and Capitaine warn that artwork is a particularly tricky area: a work of art itself may be in the public domain, but the photograph of the artwork may not be. In fact, the art galleries and museums that house a work of art may own the copyright to the photo and would likely charge for its use; their image databases are a revenue stream for them. Bridgeman Art Library is a good place to begin searching for all artwork (both in copyright and in the public domain); it has built relationships with galleries, museums, and archives all over the world and has an extensive, searchable database. In fact, if you know that a certain gallery with which Bridgeman has a representation agreement houses a given work of art but you don’t see it in the database, you can still contact Bridgeman, which will more than likely be able to procure an image of that artwork on your behalf.

I asked if someone who scanned in an image now has rights to it, much as a photographer of a work of art would. MacLachlan and Capitaine said no—a scan qualifies as a reproduction and thus doesn’t carry copyright. However, if the person then manipulates the image—retouches it, cleans it up, etc.—then that is value added that the person may wish to charge for.

For artwork still under copyright—even art in a public space—you need permission from the artist. If a photograph features a person or trademarks and logos, you may require additional permission. This YouTube video about image rights explains the many layers of permission you may need to clear.

MacLachlan and Capitaine then outlined their research process:

1. Receive brief or photo log

A client gives them a list of the images that they need. Sometimes these lists are just vague descriptions, and other times a client may have a very specific image in mind. At this point, the client will also specify the budget for the project.

The photo log is an essential record-keeping document. Usually in a spreadsheet, the log records the following:

  • Unique asset identifier
  • Description of asset
  • Reproduction size—quarter page, half page, full page?
  • Final page number
  • Type of asset—photo, illustration, cartoon, etc.?
  • Source contact info—full address details (some copyright holders request copies of the final book)
  • Source asset number
  • Credit line
  • Estimated and final fee
  • Rights granted
  • Status indicators—when contact was made, when the image was ordered, etc.

2. Research assets

Sources of images include stock agencies, museums and archives, the Internet (but use with caution), and photographers. Getty Images and Corbis are the “big two” among stock agencies, but because of their size, their fees are usually non-negotiable. However, your client may have a vendor agreement with them, allowing you to use that agreement’s pricing. In addition to Getty and Corbis, however, there are scores of smaller stock agencies, many of which specialize in certain niches. Microstock agencies, such as Dreamstime and Shutterstock, are a source of low-cost royalty-free images, but the quality may not be as reliable. You can also turn to aggregators such as the Picture Archive Council of America or the British Association of Picture Libraries and Agencies.

Some sources of free or low-cost images include the Canadian government, Library and Archives Canada, the U.S. government, the Library of Congress, university digital libraries, and some NGOs, such as the UN or the WHO.

If you know you’ll need some images from museums and archives, MacLachlan suggests hitting them first, because they are often understaffed and can take weeks to get back to you.

If what the client has requested is extremely specific or regional, it may be faster to call a photographer. MacLachlan and Capitaine have found many good photographers just through Google or through aggregators such as AG Pix or Photographers Direct.

3. Submit selections to decision makers

MacLachlan and Capitaine will narrow down the selection to three to five images per asset, and the client will choose the final image.

4. Obtain high-resolution images

High-resolution images from stock agencies and most photographers are “comps” until licensed—so you don’t pay for them unless you actually use them—although sometimes photographers will charge a kill fee if you choose not to use an image. Royalty-free images are non-refundable. Many archives require pre-payment for the hi-res.

These high-resolution images can be huge, so a high-speed connection is essential. Most files are transmitted via FTP sites or services such as Dropbox or YouSendIt.

5. Compile acknowledgement copy

This is where having a detailed photo log comes in handy. MacLachlan and Capitaine strongly suggest being diligent in logging the image credit line as soon as the client has decided to use that image. They caution that getting the credit line wrong can be very costly. Licensing agencies can impose a 100 per cent surcharge if the credit line is incorrect.

6. Negotiate and clear licenses

There are three main types of licensing:

  • Rights managed—based on one-time use; the intended use, media, territory, duration, print run must all be specified.
  • Royalty free—a one-time fee based on the size of the image; the image can be used multiple times for multiple projects, within the terms of the license.
  • Creative commons—creators can choose to allow others to use and distribute freely, as long as credit is given, or they may place restrictions on how their work can be used.

MRM Associates will finalize the usage letter for the licensing, specifying the items to be used, reproduction size, title of the publication, author/publisher/ISBN, print run, price, publication date, territory, target audience, and rights required. This usage letter is a legal document, so make sure the client’s name appears on it, not yours.

The agreements will generally state whether an image can be modified. Royalty-free images usually can, but rights-managed images and images from photographers may not allow it. Modifications include cropping, rotating, and flopping.

7. Submit completed log and paperwork

MRM Associates will finalize the photo log and return the supporting materials to the client.

***

MacLachlan and Capitaine touched on the issue of orphan works—works for which the copyright holders are unknown. (These abound on the Internet, of course.) They caution against using them. You can license their use through the Copyright Board of Canada, which will charge you a fee and keep that money in the event that a copyright holder comes forward with a claim. The researcher community, including the American Society of Picture Professionals, has some forums to track down copyright holders of orphan works; the idea is to get as many eyes on it as possible and hope that one of them can identify the creator. However, using an orphan work always carries the risk that the copyright holder could identify him- or herself and take legal action.

The presenters also mentioned a concept that was new to me—what they called a “client asset database.” Some of their bigger clients have their own image banks where they store public-domain images or royalty-free images they’ve already paid for. For example, although Library and Archives Canada images are mostly public domain, LAC will charge a processing fee, and there’s no point paying that more than once.

The main takeaways from the seminar for me

It’s all about risk assessment

Deciding when to secure permission can fall into a grey area in some situations, and since the client assumes the risk, it’s important to alert the client to all possible issues when they decide whether to use an image. How high is the risk of not securing a model release? Of using an orphan work? Of using ephemera and advertising from companies that are now out of business?

Get the credit line right

Although I’ve always tried to be careful to have the credit lines match what the copyright holders or stock agencies have supplied, I didn’t realize the consequences for errors were so severe. So I suppose it’s safest, if possible, to copy and paste rather than to key in a credit line when preparing acknowledgements.

Royalty-free images can be used again, for different projects

I had always assumed that royalty-free images could be used again only for new editions of an existing book; I didn’t know they could be used for multiple projects. Given the utility of a publisher’s own “asset database,” I will definitely start recommending to my consulting clients that they consider establishing one, if they work a lot with images.

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The seminar was incredibly illuminating. Thanks to Mary Rose MacLachlan and Derek Capitaine for sharing their wisdom and for allowing me to post this summary of their talk.

East Meets West event at Barbara-Jo’s Books to Cooks

Over the course of two years food writer Stephanie Yuen scoured Vancouver’s Asian food scene for the best dishes from some of the city’s most acclaimed Asian restaurants, and the result is East Meets West, a gorgeous, full-colour cookbook featuring not only eighty-eight mouth-watering recipes but also an introduction to the ingredients commonly used in Asian cooking and a directory of where to find some of Vancouver’s best Chinese, Japanese, Korean, Vietnamese, Malaysian, Thai, Filipino, Indian, and Nepalese cuisine. Stephanie will be signing books at a free public event at Barbara-Jo’s Books to Cooks on Saturday, April 28, from 11 am to 2 pm. Call 604-688-6755 to RSVP.

EAC certification

Last evening’s EAC-BC meeting featured a presentation by my fellow Certification Steering Committee members Ann-Marie Metten, Lana Okerlund, and Anne Brennan about dispelling the myths surrounding EAC’s certification program. I started off trying to take some notes so that I could post them here but found that I wasn’t engaged in the same way as I was for some past sessions, because I wasn’t hearing anything I hadn’t heard before and, of course, I’d already been through the process. So perhaps the best way I can contribute to the discussion is to say a few things about my experience and offer some (unabashedly biased) thoughts about the certification program.

When I began working in book publishing, my mentors at D&M Publishers were Nancy Flight and Lucy Kenward—unquestionably two of the best editors in the country. That position gave me extraordinary training and a deep respect for high editorial standards. But it was also enough to give me a serious case of impostor syndrome. A few years in, I wanted to prove—mostly to myself but also to my employer—that I was worth my salt as an editor, and the certification program provided a terrific opportunity to validate my skills.

I feel fortunate that I had experience working in an intense in-house environment in book publishing: I did all of my proofreading and much of my copy editing on paper, meaning I was very familiar with markup, and I dealt day to day with other members of the publishing team and so felt I had a solid grounding in the publishing process. I hear from other certified editors who had never worked in a publishing house that those were two of the most challenging aspects of the certification tests for them.

So I signed up for the knowledge of publishing process and the copy-editing tests (when they were divided that way) in 2008. I worked through the copy-editing study guide, reviewed the Professional Editorial Standards, read through Editing Canadian English, and over a few weeks ended up reading Chicago cover to cover (and in the process discovered stuff I’d been doing wrong for years!).

That year was the first time the certification program offered the structural and stylistic test, and I didn’t feel up to it quite yet. In 2009, knowing that only five candidates had passed that exam the previous year, I registered for it (along with the proofreading test) but mentally prepared myself to write it twice if I needed to; I was fully expecting to fail the first time and was going to use that as a learning experience in preparing for my second kick at the can. As luck would have it, I didn’t need one, and I attained my Certified Professional Editor designation in spring 2010.

To prepare for my last two tests, I again worked through the respective study guides and reread the Professional Editorial Standards. Nervous about the structural and stylistic test, I also dedicated time to doing the substantive editing exercises in Meeting Editorial Standards (now Meeting Professional Editorial Standards) and, on Nancy Flight’s recommendation, read Style: Toward Clarity and Grace by Joseph M. Williams—an extraordinarily lucid read that I would highly recommend. If I had to offer any advice to prospective certification candidates, it would be:

  • to know the Professional Editorial Standards. This is key, as the exams are made to test those specific competencies.
  • to work through the study guides, which are very good exemplars of the tests. In each of them you get not only a practice test and a marking guide but also a sample test of a candidate that had passed the test and another that had failed, allowing you to get a good sense of what to prioritize.

I wish I’d internalized more from the experience (particularly the reading of Chicago, for example), but I can say that the process of studying for certification certainly made me a more conscientious, attentive editor. One of my colleagues asked me why, as an in-house editor, I decided to become certified, since I couldn’t really capitalize on the marketing advantage of being a CPE. At that point, my role in the company had grown from simply editing to developing editorial systems and communicating with freelancers. Being certified gave me the confidence to talk to our freelance editors—some of them veterans of the profession—as their equal. And now that I’ve gone freelance, I am that much more grateful that I’ve gone through the process and can easily prove to prospective clients that I am offering good value.

My commitment to the certification program runs deep; I have a vested interest in seeing my designation retain its value. I was involved in developing the framework for credential maintenance, and I’m now a member of the Certification Steering Committee. Although I’m not required to do any credential maintenance activities, I will anyway, because certification, to me, is not an end-point—it’s an extra motivator to keep learning.

If you’re considering certification and have any questions about my experiences or about the program, feel free to get in touch with me, and I’ll try to answer them to the best of my abilities.

Picture research with MRM Associates

When I worked on Cow by Florian Werner (translated by Doris Ecker—and recently reviewed in Publishers Weekly) about a year ago, I ended up spending roughly 40 per cent of my time trying to track down sources and clear rights for a couple dozen images that ended up in the book.

For me, it was a baptism of fire—it was the first time I’d had to do image research to that extent, and I faced a number of constraints: we wanted to use as many of the images that appeared in the German edition as we could, but all of the world English rights had to be (re-)negotiated, and some of the rights holders flat-out refused to let us use their images; I had to find high-resolution versions of all of the images, since they appeared in the German edition as marginal thumbnails; I had a limited budget and had to find public-domain substitutes for images whenever possible; and, of course, the author had to approve all of the new images before they found their way into the book. I ended up making several visits to the city and university libraries to find images from old books we could scan; ordering a postcard and an old poster off of eBay; emailing a number of people before I could finally find out who owned the rights to a photo of David Lynch’s artwork that had been reproduced with abandon and without credit all over the Internet; trying to use reverse image searches to find alternative sources of high-resolution public-domain images; and negotiating image rights with art galleries, museums, archives, publishers, and licensing agencies. In other words, although I know some of what I had to do was essential, I am sure that I did many, many things the hard way.

This is why I am very much looking forward to Mary Rose MacLachlan and Derek Capitaine’s half-day EAC seminar about picture research on Saturday, April 21. I’ve already compiled a long list of questions arising from my experiences with Cow and other projects, and I’m hoping to learn efficient ways to identify copyright holders and negotiate with stock and licencing agencies.

As of the time of this posting, there are twelve spots left in the seminar, and I’d encourage anyone who has worked or might work with images or permissions to sign up (registration closes this Friday, April 13). I heard Mary Rose MacLachlan give a hugely informative talk at an EAC-BC meeting, and I think this workshop will be extremely useful. That said, with the acknowledgement that not everyone can attend, I’m offering to take any image-related questions you might have and ask them on your behalf. Contact me or leave a question in the comments, and I’ll report back after the session.