Category Archives: editing

Words that glitter and splash

I was to have been presenting on this at the ACES conference in Salt Lake City this year, but, for pandemic reasons, that was cancelled. So the nice people of ACES asked me if I would be interesting in contributing an article to their website on the topic, with a limit of 3000 words. I was happy to do so… and managed to keep it just under the limit! I’m presenting it here as well. This is a longer read than my usual, but on the other hand it’s much shorter than my master’s thesis. Continue reading

Advice to a beginning editor

I am regularly invited as a guest expert in an online editing course taught by a friend. This time around, one of the students asked “Do you have any tips for aspiring editors or editors that are just getting started on their first project? Also, what resources are some of your holy grail must-haves?” Here is my advice for her.

Editors who are just starting out often have a combination of overzealousness and insecurity: they won’t ask about things they should ask about, but will ask about things that are actually covered in the style sheet or standard references. Remember: whatever document you’re working on, it’s part of a certain genre for a certain publication in a certain field, and there will be things that are standard or assumed in that context that you may not know about yet. If a thing seems weirdly wrong or nonstandard, don’t be afraid to ask for clarification. But also don’t be afraid to look it up and look at other examples from the publication in question.

Many eager editors have “hills to die on”: points of usage that are dogmatically beyond compromise for them. Having a hill to die on is a great way to be slaughtered in full view of the neighbourhood. Beginning editors shouldn’t have them. Experienced editors also shouldn’t have them, but the more experienced you are, the more you know that anyway. Any position you take you should be able to support, and if you can’t persuade the client, (a) there may be a good reason for it, and (b) it’s their document with their name on it and their money they’re paying for it, so at a certain point it’s better to lay down your arms and go to the pub.

You should get to know the preferred style of the publisher you’re working with, of course, but standard guides such as the Chicago Manual of Style ought to be part of your repertoire and you should refer to them for advice as needed (advice! not law! unless it’s in the style sheet). I also like the New York Public Library Writer’s Guide to Style and Usage. Some people love the Canadian Press and Associated Press guides; as far as I’m concerned, if your client is a newspaper or is specifying CP or AP style, go with it, but otherwise it will have advice and take positions that may be inappropriate for your document. These styles have been developed for a specific genre, and there are debates that can be had over whether they’re even optimal for that genre. You will find that some people who have taken journalism courses tend to think that CP or AP is the absolute God-given legislation and optimal for all contexts. They are not right about this.

I’m a big advocate of studying at least some linguistics, but not everyone is in a position to take an intro course. It’s important to know how all the machinery of the language actually works, though. It’s very, very important not to heed the self-important counsel of curmudgeons, peevers, “grammar Nazis” (a term that should be abolished), and similar sorts. Stay far, far away from Lynne Truss and Nevile Gwynne and anyone of that ilk. You can identify them by their habit of declaring that well-known and well-respected authors are wrong on points of grammar, and by their use of such terms as “barbaric” and their endorsement of such acts as vandalizing signage. None of this has anything to do with clear communication; it’s all dominance behaviour, classism, brutishness, and schoolyard punkery in a gabardine suit.

On the other hand, there are authors who are well informed and worth a read for enlightenment and entertainment; you need not take everything they say as law, but it is at least well founded. They tend to be experienced professional editors. These include ones such as Emmy Favilla in her A World Without “Whom,” Mary Norris in Between You & Me (which is also autobiographical), and Benjamin Dreyer in Dreyer’s English. Other editors who have written books worth turning to include June Casagrande and the late, great Bill Walsh. This is not an exhaustive (or exhausting) list! For the art of being an editor, read The Subversive Copy Editor by Carol Fisher Saller.

That should be a good start! The good news is that you never stop learning. (Or, if you do, stop editing.)

But is it art?

Originally published on The Editors’ Weekly, the blog of Editors Canada

Is writing art?

And if it is, what is editing?

If we say writing is “artful,” or “artistic,” or “an art,” we mean that we appreciate it aesthetically and admire it for the skill it evinces. But if we say not “writing is an art” but “writing is art” – or “this text is a work of art” – we connect it to an identity that is simultaneously nebulous and overloaded. Continue reading

The Editor’s Carols

After my previous editorial music video, I had a couple of requests for some Christmas songs. Which is good, because I was going to do it anyway. Here’s my medley – quick and dirty, because I’m too busy editing to spend all day on it. (I’m not lying: I’m fully booked – editing full books!)

About the serial comma

People have opinions about the serial comma (also called the Oxford comma). Sometimes very strong opinions. So I sat down with my lunch, some Cheerios, and a Martini to tell you the truth.

How to write gleefully

This article was first published on The Editors’ Weekly, the blog of Editors Canada.

There are times when you want to make your prose more lively – if not flagrantly flippant then at least glancingly gleeful. Your words could land with a thump or splash or flit by with a twirl, but they must be sprightly. You want to write like a child. Well, no, not like a child – children aren’t very good writers; their sense of sentence structure is a bit squishy and scrawny – but like a child would write if a child had the skill of an adult. You want to be extra expressive. Continue reading

The Honourable Member for the 18th Century?

Jacob Rees-Mogg, the new Leader of the House of Commons in England, has lately been the subject of remark for his questionable sense of style. And I don’t mean his unfortunate sartorial choices. I mean his directives on English usage. He has, we learn, given his staff a style guide that is just not what a style guide should be.

Many people chalk up his preferences to traditionalism and preferring the old ways. But Rees-Mogg, often called “the Honourable Member for the 18th Century,” is not actually expressing preferences supported by tradition. Like most modern grammar numpties, he’s fancying himself more traditional than tradition. The point is not to hold back the march to modernity; it is to enforce an entirely recent invention of the past for the sake of maintaining a certain sense of superiority. A sort of Disneyification, if Disney were run by ghastly snobby boys. Continue reading