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Hazel Bird is privileged to project manage, copy-edit and proofread sometimes dizzying quantities of interesting words for clients ranging from global academic and trade publishers to government policy units to publishers of creative non-fiction. Her focus is on developing dynamic collaborations with her clients in order to help make their goals a reality. Her biggest project to date was a twelve-volume international encyclopedia with over a thousand contributors. She lives in the stunning countryside of the Wye Valley in Herefordshire, UK, and spends her free time trying to corral her ancestors into some sort of order and attempting to offset a severe doughnut preoccupation with heavy lifting.
ABOUT THE BLOG
The Wordstitch Blog brings together my experience working in publishing on both sides of the client–freelancer relationship (often simultaneously). It aims to foster great working relationships, from a belief that the best text products (of whatever kind) emerge out of genuine collaboration and excellent communication.
- Disengage, re-engage: 13 tips for proofreading text you’ve already copy-edited
- Difficult feedback: should you send it and, if so, how?
- When editorial project managers expect too much
- How to use bubble charts to get a snapshot of your clients’ value to your business
- How to close an editorial project effectively
- Proofreading pitfalls: Nine tips to improve your proofreading strategy
- A day in a life of a freelance copy-editor and editorial project manager
- Plagiarism: How to spot it and what to do about it
Monthly Archives: February 2016
I recently edited an academic book on Nazi Germany and, as is standard copy-editing practice, checked the spelling and diacritics of all proper nouns and non-English words: the Polish ‘el’ in Che?mno; the triple-consonant ‘sch’ in Mischlinge; the umlaut in Röhm. I’ve found that, with experience, copy-editing functions like this have become almost automatic. A ‘bzzzt’ noise in my brain flags that I’ve just read something I need to check, and I’m consulting the client’s house style guide, Alt-tabbing to my style sheet or copy-pasting into an appropriate dictionary or Google almost before I realise.
But in some books, like the one mentioned above, this mechanical approach jars with the content. My editor brain is tripping happily through the text prissily pouncing on errors while my human brain is fixated on the horror or the sadness (or in other cases the hilarity) of what the author is describing.
This calculating approach can seem cold, inadequate, insensitive.… read the rest >>