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Hazel Bird project manages, copy-edits and proofreads 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.
- Editorial midwifery: why a love of language is not enough
- Keeping projects moving in a crisis by putting people first
- We are already surviving
- Psychological safety in editorial work
- 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
Tag Archives: authors
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 >>
‘Don’t intrude on the author’s voice’ is one of the first things every new proofreader or copy-editor is told. This is both a very helpful and an utterly useless piece of advice. It is helpful because it is absolutely true, but it is useless because it rarely seems to be defined just what on earth authorial voice is.
Is it just one of those conveniently nebulous concepts that can be thrown down as a trump card to back up a quavering argument? Or can it be pinned down as a real ‘thing’, distinct from all the other aspects of written language that editors have to worry about?
Things authorial voice probably isn’t
1. Grammar, or the disregard thereof (see also below). The conventions according to which other human beings understand punctuation marks and sentence syntax must be adhered to if your author wishes to be understood (though less so in fiction than non-fiction).… read the rest >>