Copyediting Explained
When someone "gets all up in your sentences" what is really going on? Scott Berkun explains in How copyediting looks and feels. I first saw this comprehensive article referred to as "Understanding copyediting for writers." It's not exactly that, but writers should know about this vital part of getting any kind of manuscript published. He explains it in terms of book publishing, but editing is editing and:
On the other hand, if someone wants a peek inside an editor's mind or is trying to learn editing "by Braille" studying a document that displays the original and changed text could work. If the editor had the patience to explain why she made each change, so much the better.
I usually just tell them, "It sounds better" or "It is clearer" and "I am 65 years old and I've read a lot of books, written countless pieces that were published, and I have the style manuals at my fingertips, that's why." An editor is a harsh mistress.
Copyeditors have a tough job. They have to sort out what the author was trying to do, and then help them do it. But if a writer botches a sentence or a paragraph (or chapter), it’s hard for copyeditors to figure out the intent.Berkun's method of editing is incredibly labor-intensive. Most of my clients are happy if I just "clean up" their manuscripts for books, stories, articles and essays. I offer the option of using MS Word's Track Changes feature, but most opt for the quicker fix that does not complicate the document. I suspect most do not even know "Track Changes" exists.
On the other hand, if someone wants a peek inside an editor's mind or is trying to learn editing "by Braille" studying a document that displays the original and changed text could work. If the editor had the patience to explain why she made each change, so much the better.
I usually just tell them, "It sounds better" or "It is clearer" and "I am 65 years old and I've read a lot of books, written countless pieces that were published, and I have the style manuals at my fingertips, that's why." An editor is a harsh mistress.
posted by Georganna Hancock M.S. | 8:11 AM
5 Comments:
"An editor is a harsh mistress." What a great line. It's so true. I can't tell you how many documents I edit these days that really need work. Before I sign on to a job, I let clients know upfront that my edits will appear harsh. They are meant to teach. People can string together a few sentences, yes, but they don't necessarily know how to string them well. It takes years and years of experience. It just does. And it still often takes a really good editor on top of that.
That is a good practice, Jackie. I usually forget to warn my clients except when their first novel is over 110,000 words. Then I tell them it's too long, but not to worry because my editing usually reduces a ms. by at least 10 percent!
If someone needed an education or the kind of hand-holding service Berkun describes, I would have to charge much higher rates, too.
I agree that it takes a long time to become a good editor, especially to edit fiction. I cringe when I come across these tender young things who call themselves editors straight out of college. Can you really learn to edit well from a few classes?
I appreciate this post. It clarifies a lot and Im inspired to make less mistakes or try to be more clear. Thank you for this.
-C. Dominique Gibson
I'm convinced editing is craft and some people who have a mastery of grammar just don't have the craft. They kill tone, spoil rhythm, and allow rules to overtake realities.
And then of course there are the aspects of writing beyond the line edits. The pace, meaning and approach of a page or a chapter is more than just a collection of nice sentences.
In most arts anyone involved in the middle stages, like copyeditors or film editors, is rarely well understood and is frequently under-appreciated.
Let's assume the previous comment is from the article author, Scott Berkun. (I don't know--I didn't even try to locate him.)
Either way, thanks for visiting and leaving us with more good ideas, Berkun. My greatest fear in editing fiction is that I might step on the author's unique style, all those attributes you mentioned. The greatest challenge is to abandon my own style preferences and allow the writer to speak in his/her own voice.
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