Developmental editors get to tinker with literary Lego, develop complex relationships with authors, and directly impact the narrative’s creation and final result.
From a copyeditor’s perspective, in-box article submissions can carry a vibe akin to the wild west, with authors throwing around rambunctious punctuation all willy-nilly: random ellipses with ambiguous intent, dashes dropped seemingly at random, and the mother of all punctuation faux pas, the exclamation point! What’s a periodical copyeditor to do?
“Please take back out every Oxford comma,” a journalistic-minded author of mine once said. I began my editing career using Associated Press (AP) Style, so I understood his suggestion, but the house style at my current company mandated the use of the serial comma. We had a short, spirited, and (thankfully) respectful debate about it, and ultimately house style prevailed. I convinced the author that the meaning in his writing remained unchanged and using a serial comma accomplished something important to the company—it maintained consistency throughout their titles.
So you’ve written a novel. You’ve done a couple of drafts, and you feel good enough about it to ask a few people to take a look. Choose carefully; you need constructive feedback, not unconditional love. You won’t get it from the person who’s kept all your precious papers since you were four, and you won’t get it from your soul mate. Your trusted readers are business casual: friendly, but there for a reason.
The first read is mostly for characters and story—the who, what, and why. Your trusted readers tell you what was great about the book and what wasn’t so great. They ask for clarification and comment on that thing that happens in chapter four that maybe could happen sooner, or not at all. You grit your teeth, smile, and revise.
After almost three terms as the editorial assistant for Ooligan Press, I have become accustomed to the compulsory blank stare that results from hearing the term “light copyedit” when discussing blog posts and the importance of maintaining an author’s voice and intent. For some floaters, or volunteer editors, this glazed-over expression is a sign of […]
Fall term has arrived and has brought with it students new to Ooligan Press, students new to the book publishing program, and students new to The Ocean in My Ears team. Joining our team this term we have the talented Brianne Robinson, who is not new to Ooligan but is new to our team, along […]