The compilation edit is unique to the operations of our teaching press, but coordinating this type of edit has been an invaluable learning experience for me as an editing professional. Editorial work is often more of a flexible art than a task that follows a standard procedure, as there are many ways to work with an author to bring out the best in their work.
In Narrative Design, Madison Smartt Bell charges that the environment of the Iowa Writer’s Workshop fosters a “group mind” that produces “well-tooled, inoffensive, unexceptional, and rather dull” writing. Marian Pierce is a Portland-based writer, editor, and professor of Creative Writing at Marylhurst University. She graduated from the Iowa Writers’ Workshop, so I took this opportunity […]
Literary agent DongWon Song moved to Portland from New York City almost two years ago. He works remotely as part of the Howard Morhaim Literary Agency, where he’s on the lookout for “science fiction and fantasy—especially epic fantasy or high fantasy—for both adults and teens . . . [plus] nonfiction, especially food writing, science, and […]
Today at 1:00 p.m., I sat in Book Editing listening to a zealous defense of a comma resting innocently (or not so innocently) between two clauses. Were the clauses independent? Was the comma grammatically unnecessary but useful in improving clarity? There are moments like these in this program (even as I study to become an […]
Each project that we take on at Ooligan Press is uniquely challenging to its student workers. At this very moment, students in the graduate program are dividing their attention between books on historical nonfiction, young adult fiction, and single- and multi-authored literary nonfiction in both long and short forms. Because Ooligan is staffed by graduate […]