Redundant Editing?

This blog has an overwhelming preoccupation with book editing. For many, that’s the image of an editor that springs to mind when you hear the word. But for others, the vision can be that of the harried newspaper editor, a la Spiderman’s John Jonah Jameson Jr.

However, the endurance of that vision must be called into question. As we move deeper into the digital age, print newspapers are seeing circulation rates plummet, as consumers increasingly look to the screen for their news.

The result is that newspaper companies have been forced to slash jobs. What is interesting is that these have overwhelmingly been from editorial departments.

On 24th November, the Sydney Morning Herald reported that News Corp, Australia’s largest newspaper and media company, was to axe 55 jobs, all from editorial.

Traditionally, editors, particularly copy-editors, provided vital support to the newspaper publication process. Their job was primarily about being a second pair of eyes to review the article before it was printed. Editors oversaw corrections to spelling and grammar, fact checking, and changing sentences that may have left the newspaper liable to defamation or other legal issues.

With the cuts to editorial, these jobs are being consolidated into the ever-expanding role of the journalist. Increasingly, the onus is on these individuals to not only write, but also to find their own stories and edit them. The journalism process has changed to facilitate even more rapid news reports, by having articles immediately uploaded to the web, then subsequently incorporated into print.

This has significant implications for newspaper quality. As we all know, the benefits of having someone else review your writing are substantial. Most of us quickly grow familiar with our own work, making it more difficult to spot mistakes, or places where improvement is needed.

Inevitably, things slip through the cracks. Editors Victoria demonstrated how a lack of editorial review contributes to even the simplest mistakes, when they posted a photo of the Herald Sun’s December 2 front page. In a blatant typo, the newspaper proclaimed the year to be 2105, transporting its readers 90 years into the future simply through a disordering of the number keys.

Herald Sun

It was a very simple mistake. How many times have any of us hit the wrong keys as we whiz through a document? But this easy fix made it all the way through editorial and print, to appear on shelves across the country. I have to ask, if the Herald Sun had been given adequate editorial support, would this error have still slipped through the cracks? I consider that unlikely.

Many people, those in control of staffing decisions across News Corp and Fairfax in particular it seems, consider the role of an editor to be superfluous – desirable, not necessary. After all, anyone can proofread, right? While I won’t comment on the average person’s ability to fix their own grammatical issues (Youtube comments section anyone?) editors provide a level of quality control that our newspapers are currently floundering without.

Those in charge may think that axing editorial staff is the most efficient way to cut costs and have the waning print newspaper format survive in the digital age. I can assure them that it isn’t. The increased production of poor quality work that we see when the position of editor is devalued will only accelerate the decline of the medium, as consumers search for a medium that can at least get the date right.

Traversing the Thorny Thicket

One of the most typical intern jobs around is being assigned to the slush pile, as both I and Brendan have been at different times.

In layman’s terms, the slush pile is the collection of all the new submissions a publisher receives. Part of my job is to sift through the hopeful cover letters and (often) ambitious manuscripts, and divide them into two groups, the ‘Don’t Bother’ and the ‘Worth Consideration’. It’s a job commonly assigned to interns and newbies because it’s intensive, with often little to no reward. However, ploughing through the slush pile is an important step in any intern’s journey for a number of reasons. It allows you to hone your critical thinking skills, as you learn to look for certain signs that a book may have what it takes.

It’s prompted me to think more deeply about why I approve or reject a certain manuscript. Not only do I suggest certain manuscripts for our publisher’s consideration, but for every manuscript I read, I’m required to do up a summary document, where I provide a short synopsis, pick out the elements that are good and/or bad about the manuscript, and justify why I would or would not publish it. It’s quite a lot of power, which has the potential to easily swell this small intern’s head!

Before I even read the manuscript, I’m looking at the cover letter, the biography, the marketing plan, and the way the author sells their work. And so, before we’ve even made it to your manuscript, we’ve made a lot of assumptions about you. One of the most important, and often overlooked is: can you follow our submission instructions? Someone who hasn’t bothered to add in their pitch, or whose cover letter leaves out relevant details automatically needs their manuscript to work harder for them.

The process of turning manuscript into finished product sees an editor and author working very closely. So when we consider your book, we’re also considering what you will be like to work with. These things come out very easily in cover letters, and will definitely make us reconsider you, even if your manuscript is out of this world. The relationship between a publisher and an author is very much a partnership. The work doesn’t stop once we agree to publish. So, ideally, you want to come across as interesting, enthusiastic, and willing to work with us, to be in the best possible position for us to accept your manuscript.

Now on to the fun part: reading the actual text! At Odyssey, we usually ask for the first four chapters, to give us a sense of the work. When I’m reviewing the slush pile, rarely will I read all four of those chapters. From discussions with various editors and slush pile enthusiasts I’ve met through my work, I’ve discovered that everyone has their own rule of thumb. For me, it’s the first twenty pages. What I’m looking for, first and foremost, is a text that can capture me in those first twenty pages. Even better than that, if I end up wanting to read more than the four chapters an author has sent, that’s usually when I send excitable emails to the publisher, demanding that we request a full manuscript, just so I can know what happens!

How does an author capture my attention and keep it? Well, that’s the part that’s hard to quantify, and is different for every book. Readers today are more spoiled for choice than ever. A novel that can make readers connected to their characters, absorbed in the action and excited to see what comes next, just in the first twenty pages, is going to be one that has a much better chance of succeeding in the market. So I can’t highlight what I want. But I can give you some ideas of what I don’t want.

  • Poor Editing – Oh wow! As editors, we know that typos slip through all the time. We do it too! (only sometimes) But a manuscript that’s full of typos just seems lazy. If an author can’t be bothered to edit their manuscript properly before submission, how are we supposed to think they are at all dedicated to making sure their book does as well as possible?
  • Over-Detailed Introductory Material – This is guaranteed to make me stop reading a manuscript very quickly. The best novels catapult you right into the world you have created. Backstory comes later! It trickles out and keeps you hanging on for more. If you load it all in at the beginning, no one will be hanging around for the middle, let alone the end.

As I’m rapidly running out of space, I’ll leave it there. My adventures in the slush pile have made me one of the pickiest readers around. Every manuscript I work with allows me to better understand what it is that makes a novel stand out as publishable amongst the mountain of slush that never will be.

They’re Their: Copy Editing and Its Importance to the Finished Product

Right now, I wouldn’t be surprised if a few of you are feeling a bit ripped off. In our introductions, and most of our discussions about what we do, Brendan and I have both said time and time again that the majority of our work centres around editing. But so far, a lot of our blog posts have focused on other topics. We hear you, loyal readers! You want to know about the ins and outs of editing, and we plan to bring it to you.

Today this post is all about copy-editing, the often confusing, mostly frustrating, and frequently overlooked aspect of editing that many authors forget they need. Copy editing does not concern itself with major plot holes, aspects of drama or action that need livening up, or even fixing those incredibly annoying characters that you just cannot stand. In a nutshell, copy-editing involves editing a text to make sure it is clear, easy to read, and most of all, consistent.

When I talk about copy-editing’s concerns with being clear, I am mostly taking about issues of spelling, grammar, and punctuation. Misspellings, an over abundance of semicolons, or passive voice are all concerns of the copy-editor. This also ties into making the text as easy to read as possible. Copy-editors scan your manuscript line by line, just waiting to find those devious little sentences that are too long, too verbose, or just plainly too confusing. Like a tiny little word ninja, they swoop in and cut those sentences down, making them pleasing and simple to read.

One of the absolutely key jobs of a copy-editor is to make sure the manuscript is consistent. There are many out there, mostly frustrated writers banging their head against battered keyboards, who would love the writing process to be simple and straightforward. The reality, of course, is that it is a highly creative and organic process. As such, characters undergo major identity changes, settings are moved, and events are scrapped and written again. This means that your average manuscript can often be full of inconsistencies that the author has overlooked or simply forgotten to fix. When your Hobbits begin by marching through the Misty Mountains, and end up at Hogwarts, that’s when you know you need a copy-editor.

Most inconsistencies aren’t usually as drastic as all that (although, now I think about it, Bilbo Baggins’ sorting would make some awesome fanfic). Usually checking for consistency involves fixing characters who were redheads in one scene and brunettes in the next, or whose names have mysteriously changed halfway through. Not only that, consistency with word choice is also important. How many times have you Aussie writers battled frustratingly with a Microsoft Word that insists on changing your ‘s’ to a ‘z’. Small issues like these occur frequently throughout a manuscript, and finding and fixing them is an important part of the copy-editing process.

I can see the cogs whirring in your brain from here, even though none of you have yet read this article as I’m writing it. This sounds like proofreading! Proofreading is easy, I do it all the time in my essays, why have you gone and given it a fancy name? I should note, before our publisher reads this and then decides to hunt me down for my factual inaccuracies, that there IS a difference between the two. Although proofreading and copy-editing have several things in common, they are different parts of the editing process. Proofreading is generally the final stage of editing, where we look for errors that have been overlooked in previous edits. These are usually small spelling mistakes and typos. Copy-editing is a far more intensive edit, and aims to make the text as cohesive as possible, in order to provide the most pleasure for you, the reader.

It’s very easy to think that editing is just the one process, rather than the many-layered beast it is in reality. Manuscripts go through a number of edits before they are even proofread, and a major part of this is the copy-editing. We’ve all been frustrated by a sudden change in a character’s appearance or name that shouldn’t be there, but the sign of a solid editing process is when that never happens. And as someone who wants to be an editor, boy is that a lot of pressure!