Category Archives: editing

Apparently ignorance is in vogue at Slate

Yesterday I had a little asterisked mini-rant about some sloppy thinking in an article on Slate. Well, today I discover that they’ve printed an article from someone who thinks that editors are narcissistic megalomaniacs who deserve no credit or consideration. I won’t name him (I’ll say why below), but I will say he knows Jack Sh…itt about editors and editing. Continue reading

Unpacking the Grey Owl

A colleague – Adrienne Montgomerie – was recently reading to her child from a story by Grey Owl when she came across this rather large sentence (From the second-last paragraph of “How the Queen and I spent the Winter” as published in the collection Great Canadian Animal Stories,
Whitaker, 1978):

This creature comported itself as a person, of a kind, and she busied herself at tasks that I could, without loss of dignity, have occupied myself at; she made camp, procured and carried in supplies, could lay plans and carry them out and stood robustly and resolutely on her own hind legs, metaphorically and actually, and had an independence of spirit that measured up well with my own, seeming to look on me as a contemporary, accepting me as an equal and no more.

We certainly don’t write like that so much anymore. I must say that I enjoyed reading that sentence, but some people may wonder whether all those commas are necessary and whether the whole thing is even grammatical.

So let’s have some fun and take it apart. Continue reading

A variety of ways of using a variety

A colleague asked, “What verb would you use with ‘a variety of terms…’: is or are?”

The answer is that if you’re referring to what the various terms are doing, it’s are; if you’re referring to the variety qua variety, it’s is. Probably you want are:

A variety of terms are used. (Meaning several diverse terms are used.)

A variety of terms is used. (Meaning a specific variety is used – e.g., they’re all vulgar.)

A variety of flowers were on the table. (Assorted flowers were on the table.)

A variety of flowers was on the table. (One specific variety was on the table – presumably I don’t know what it’s called, or I would have said so.)

Generally, you’ll use the is when discussing the variety more in the abstract:

The board was discussing what herbaceous emblem to use for the society. A variety of flowers was on the table, as was a variety of grass, as well as the larch.

But very often a variety of is used as an indefinite plural quantifier, and so takes the plural, just like a lot in A lot of people are coming and a bunch in There are a bunch of questions I want to ask (as opposed to discrete singular entities, as in A lot of land was the subject of the dispute and There is a bunch of flowers on the table).

Now or immediately?

Wilson Fowlie has brought to my attention the cartoon How to Express Yourself Forcefully at basicinstructions.net. I have no quibble with the main thrust of the cartoon – it’s rather well done, actually – but there’s one thing in it that has caught quite a few people out, if the comments are anything to go by: in the first panel, one of the characters says “You didn’t say do it now. You said do it immediately. There’s a big difference.”

“Oh no!” think various readers. “Another subtle distinction in English that I never learned and that now threatens to make me look like an idiot! Uh… what’s the difference?” Well, I’ll tell you. Continue reading

Grammar Girl is not where it’s at

One of the problems that I and other linguistically trained, open-minded writers run up against in building an audience is that people really seem to want someone to just tell them “Do this and don’t do that.” And they want nice, simple explanations. So they turn to people like Strunk and White, Lynne Truss, and Mignon Fogarty – the Grammar Girl* – who give them nice, reasonably simple answers and guidelines to live by.

Folks, if you want nice and simple, speak Esperanto. English is fun precisely because it’s, not to put too fine a point on it, crazy. English is not like one of those old ’70s video games with one level of play. English has more variations and levels of play, more nuances and negotiations, more little subtleties and twists and turns, than any computer game anyone’s ever devised. By orders of magnitude.

Yes, there is a version of English that is standard. (Actually, within that standard, there are quite a lot of variations.) Yes, that standard is generally susceptible to description – though, in fact, some of its structures are still subject to argument and further research even at the highest levels of linguistic enquiry. No, that standard does not involve nothing but simple, clear, consistent, one-way-for-all-times rules. Some rules are consistent. Some are not. There is no great merit in imposing rules that add complications without benefit or that restrict the expressive potential without adding some other virtue (other than defining an in-group of self-appointed cognoscenti).

I write this because I was just looking at Grammar Girl’s site because someone had sent me a link to an article of hers. Among her top 5 tips is one on ending a sentence with a preposition. To her credit, she starts off by saying that, contrary to popular belief, there is no firm rule against ending a sentence with a preposition. This is true: the supposed proscription on sentence-ending prepositions is nothing but a grammatical superstition, a mumpsimus, an invention that adds nothing to the expressive potential of the language.

She also says that you should not add a preposition on the end of a sentence when you could leave it off and it wouldn’t change the meaning. “Really,” she says, “I can’t believe anyone would make such a silly mistake!” Oh, indeed. Why use any more words than you absolutely have to? Other than for reasons of flow, sound, expression, emphasis, you know…

Then she notes that someone has called her out for saying “That’s where it’s at” on one of her episodes. She immediately goes into mea culpa mode. Does she say, “Oh, actually, there’s more to the expressive value of a sentence than just the denotative value of the words?” Nope. She completely disregards or forgets any motivation she might have had for saying it that way and declares, “But if I did say, ‘That’s where it’s at.’ I’m so sorry—the horror—because that is one of the instances where it’s not OK to end a sentence with a preposition! . . . The problem is that the sentence That’s where it’s at doesn’t need the preposition. If you open the contraction ‘it-apostrophe-s’ and say ‘That’s where it is,’ it means the same thing as That’s where it’s at. So the at is unnecessary.”

Nope. Continue reading

Let’s be clear about something

As I often mention, I’m an editor. I’m also obviously someone who likes to play with words and who appreciates ambiguity; as I say in my About page, a word isn’t much good if it can only mean one thing at a time. Some people may consider these two facts incompatible: shouldn’t an editor’s job always be to enhance clarity?

Not to put too fine a point on it: Hell to the no! An editor’s job is certainly in many cases to enhance clarity. But by no means always. An editor is there to facilitate the best effect on the reader, which is a function of enhancing the author’s communication with the audience. But sometimes what the author wants to communicate is precisely ambiguity, open-endedness, an invitation for the reader to contribute some as well. To fill in the blanks.

Some authors value this more than others; the editor should pay attention to the author’s bent on this. (I, for instance, in writing fiction, usually prefer to let the readers fill in many visual details of the characters and contexts. If you’ve read some of my story-type word tasting notes, tell me what the following characters look like: Daryl, Jess, Margot, Ross. Why do you think so?) Inasmuch as the writing is at all an artistic expression, it has as part of its utterance “appreciate this aesthetically,” which means “look for the things that resonate with you in it,” which means that each reader will have his or her own individual experience and interpretation of it, similar but not identical to that of any other reader.

Ambiguity is even sometimes valuable in nonfiction. Well, not always so valuable for the reader per se, but quite often valuable for the author (or uttering body – much nonfiction is produced in the name of organizations or corporations), who doesn’t wish to be pinned down on this or that! And as the editor, you do have to keep that in mind. An editor has to be mentally flexible. (See Are you editor material? for more on what an editor should be.)

I mention this just because my attention has been drawn to an instance where an editor – without consulting the author, which is the worst part – made clarifying rewrites to a short story based on the editor’s own interpretations. This is an excellent example of what an editor should not just go ahead and do, and of why many writers grumble about copyeditors. The author is Mima Simić, and the story is “My Girlfriend,” published in Dalkey’s Best European Fiction for 2011. Read about it in The Facts Behind One Story in Dalkey Archive’s Best European Fiction for 2011.

Can a metaphor be hyperbole too?

A colleague’s daughter is in a dispute with her teacher about whether a metaphor can also be a hyperbole. The daughter says yes. The teacher says no. I say the answer should be a raging, exploding elephant of obviousness with side-mounted machine guns. Continue reading

Licence to smear?

The CRTC is proposing changing the Broadcasting Act so that where it formerly said “shall not broadcast any false or misleading news” it will now say “shall not broadcast any news that the licensee knows is false or misleading and that endangers or is likely to endanger the lives, health or safety of the public.” You may know that some people are up in arms about this.

Others feel that it’s not unreasonable to allow broacasters some slack. It’s not illegal for me to lie to a friend, and we all make mistakes, so why have the government interfere so much? Why not let the news media get the same slack we’d like to get? Continue reading

“Whom” is a foreign word

Yet again I’ve been discussing with colleagues the question of where to use whom (and, more particularly, whomever – see I must disagree with whoever wrote that). One thing the issue shows us (in case we hadn’t noticed) is that whom and whomever are no longer parts of current English. By which I mean they are not part of the language that most English speakers speak – they are, effectively, foreign words, or at best part of a second language that the user may not be altogether comfortable with. Continue reading

What would result in you sounding better?

A fellow editor was wondering aloud (OK, on email) about a sentence with a construction similar to the above (What would result in you sounding better?). She thought perhaps it should be your rather than you: What would result in your sounding better? So… what would? Continue reading