A SCHOLARLY BOOK REPOSITORY
You’ve been thinking about shifting into the world of freelance editing, but you don’t know where to start. In a time when editors are seeking greater flexibility in their work arrangements and schedules, freelancing is an increasingly common career option. But deciding to go it alone means balancing the risks with the rewards. From the publisher of The Chicago Manual of Style comes The Chicago Guide for Freelance Editors, the definitive guide to running your business and finding greater control and freedom in your work life.
In this book, Erin Brenner—an industry leader and expert on the business of editorial freelancing—gathers everything you need to know into a single resource. Brenner has run her own successful editing business for over two decades and has helped hundreds of editors launch or improve their businesses through her teaching, blog writing, and coaching.
The Chicago Guide for Freelance Editors will walk you through the entire process of conceiving, launching, and working in a freelance editing business, from deciding on services and rates to choosing the best business structure to thinking through branding and marketing strategies and beyond. This book is ideal for beginning freelancers looking to get set up and land their first clients, but it’s equally valuable to those who have already been freelancing, with detailed coverage of such issues as handling difficult clients and continuing professional development. You’ll find a collection of advice from other successful freelance editors in this guide, as well as an extensive list of resources and tools. In the final and perhaps most important chapter, Brenner teaches you how to care for the key component of the business: yourself.
Although The Chicago Manual of Style is widely used by writers and editors of all stripes, it is primarily concerned with nonfiction, a fact long lamented by the fiction community. In this long-awaited book from the publisher of the Manual, Amy J. Schneider, a veteran copyeditor who’s worked on bestsellers across a wide swath of genres, delivers a companionable editing guide geared specifically toward fiction copyeditors—the first book of its type.
In a series of approachable thematic chapters, Schneider offers cogent advice on how to deal with dialogue, voice, grammar, conscious language, and other significant issues in fiction. She focuses on the copyediting tasks specific to fiction—such as tracking the details of fictional characters, places, and events to ensure continuity across the work—and provides a slew of sharp, practicable solutions drawn from her twenty-five years of experience working for publishers both large and small. The Chicago Guide to Copyediting Fiction is sure to prove an indispensable companion to The Chicago Manual of Style and a versatile tool for copyeditors working in the multifaceted landscape of contemporary fiction.
In the 1890s, a proofreader at the University of Chicago Press prepared a single sheet of typographic fundamentals intended as a guide for the University community. That sheet grew into a pamphlet, and the pamphlet grew into a book—the first edition of the Manual of Style, published in 1906. Now in its fifteenth edition, The Chicago Manual of Style—the essential reference for authors, editors, proofreaders, indexers, copywriters, designers, and publishers in any field—is more comprehensive and easier to use than ever before.
Those who work with words know how dramatically publishing has changed in the past decade, with technology now informing and influencing every stage of the writing and publishing process. In creating the fifteenth edition of the Manual, Chicago's renowned editorial staff drew on direct experience of these changes, as well as on the recommendations of the Manual's first advisory board, composed of a distinguished group of scholars, authors, and professionals from a wide range of publishing and business environments.
Every aspect of coverage has been examined and brought up to date—from publishing formats to editorial style and method, from documentation of electronic sources to book design and production, and everything in between. In addition to books, the Manual now also treats journals and electronic publications. All chapters are written for the electronic age, with advice on how to prepare and edit manuscripts online, handle copyright and permissions issues raised by technology, use new methods of preparing mathematical copy, and cite electronic and online sources.
A new chapter covers American English grammar and usage, outlining the grammatical structure of English, showing how to put words and phrases together to achieve clarity, and identifying common errors. The two chapters on documentation have been reorganized and updated: the first now describes the two main systems preferred by Chicago, and the second discusses specific elements and subject matter, with examples of both systems. Coverage of design and manufacturing has been streamlined to reflect what writers and editors need to know about current procedures. And, to make it easier to search for information, each numbered paragraph throughout the Manual is now introduced by a descriptive heading.
Clear, concise, and replete with commonsense advice, The Chicago Manual of Style, fifteenth edition, offers the wisdom of a hundred years of editorial practice while including a wealth of new topics and updated perspectives. For anyone who works with words, whether on a page or computer screen, this continues to be the one reference book you simply must have.
What's new in the Fifteenth Edition:
* Updated material throughout to reflect current style, technology, and professional practice
* Scope expanded to include journals and electronic publications
* Comprehensive new chapter on American English grammar and usage by Bryan A. Garner (author of A Dictionary of Modern American Usage)
* Updated and rewritten chapter on preparing mathematical copy
* Reorganized and updated chapters on documentation, including guidance on citing electronic sources
* Streamlined coverage of current design and production processes, with a glossary of key terms
* Descriptive headings on all numbered paragraphs for ease of reference
* New diagrams of the editing and production processes for both books and journals, keyed to chapter discussions
* New, expanded Web site with special tools and features for Manual users at www.chicagomanualofstyle.org.
**The 16th edition of The Chicago Manual of Style has been superseded by the 17th edition.**
While digital technologies have revolutionized the publishing world in the twenty-first century, one thing still remains true: The Chicago Manual of Style is the authoritative, trusted source that writers, editors, and publishers turn to for guidance on style and process. For the sixteenth edition, every aspect of coverage has been reconsidered to reflect how publishing professionals work today. Though processes may change, the Manual continues to offer the clear, well-considered style and usage advice it has for more than a century.
The sixteenth edition offers expanded information on producing electronic publications, including web-based content and e-books. An updated appendix on production and digital technology demystifies the process of electronic workflow and offers a primer on the use of XML markup, and a revised glossary includes a host of terms associated with electronic as well as print publishing. The Chicago system of documentation has been streamlined and adapted for a variety of online and digital sources. Figures and tables are updated throughout the book—including a return to the Manual’s popular hyphenation table and new, comprehensive listings of Unicode numbers for special characters.
In the seven years since the previous edition debuted, we have seen an extraordinary evolution in the way we create and share knowledge. This seventeenth edition of The Chicago Manual of Style has been prepared with an eye toward how we find, create, and cite information that readers are as likely to access from their pockets as from a bookshelf. It offers updated guidelines on electronic workflows and publication formats, tools for PDF annotation and citation management, web accessibility standards, and effective use of metadata, abstracts, and keywords. It recognizes the needs of those who are self-publishing or following open access or Creative Commons publishing models. The citation chapters reflect the ever-expanding universe of electronic sources—including social media posts and comments, private messages, and app content—and also offer updated guidelines on such issues as DOIs, time stamps, and e-book locators.
Other improvements are independent of technological change. The chapter on grammar and usage includes an expanded glossary of problematic words and phrases and a new section on syntax as well as updated guidance on gender-neutral pronouns and bias-free language. Key sections on punctuation and basic citation style have been reorganized and clarified. To facilitate navigation, headings and paragraph titles have been revised and clarified throughout. And the bibliography has been updated and expanded to include the latest and best resources available.
This edition continues to reflect expert insights gathered from Chicago’s own staff and from an advisory board of publishing experts from across the profession. It also includes suggestions inspired by emails, calls, and even tweets from readers. No matter how much the means of communication change, The Chicago Manual of Style remains the ultimate resource for those who care about getting the details right.
Much has happened in the years since the publication of the seventeenth edition of The Chicago Manual of Style. The world has transformed, and the Manual has risen to meet the moment. The eighteenth edition of this classic guide for writers, editors, and publishers is the most extensive revision in two decades.
Every chapter has been reexamined with diversity and accessibility in mind, and major changes include updated and expanded coverage of pronoun use and inclusive language, revised guidelines on capitalization, a broader range of examples, new coverage of Indigenous languages, and expanded advice on making publications accessible to people with disabilities. The Manual’s traditional focus on nonfiction has been expanded to include fiction and other creative genres in coverage of topics such as punctuation and dialogue, and the needs of self-published authors receive wider attention.
The citation chapters have been thoroughly reorganized for the benefit of new and experienced users alike, and the key concepts for editing mathematics have been integrated into the chapters where they will be most useful to generalists. Evolving technologies—from open-access publishing models to AI—are covered throughout. And naturally, there are some well-considered updates to familiar rules, including changes intended to align the Manual’s recommendations more closely with real-world usage.
As with every new edition, devotees of the Manual will find much to discover and ponder.
The CondensedESL Writer’s Handbook is a reference work for ESL students who are taking college-level courses. Because its purpose is to provide help with the broad variety of writing questions students may have when working on school assignments, the text focuses on English for Academic Purposes. Unlike other handbooks on the market, this book’s sole purpose is to address the issues of primary importance to language learners.
The Condensed Handbook complements a student writer’s dictionary, thesaurus, and grammar reference book. It would be suitable as a text for an advanced ESL writing course.
The Condensed Handbook is concise and easily navigated; is accessible, with clear and direct explanatory language; and limits its focus to the grammatical and style aspects of writing and reference material.
Included as special features in the Condensed Handbook are:
• The explanatory language is appropriate for ESL students, in contrast to the more complex and idiomatic language of other English handbooks.
• The level of detail is more manageable for ESL students, compared to what is in other English handbooks.
• Many of the examples of paragraphs and exercise sentences were written by ESL students; this encourages users of this Handbook to realize that they too can also become effective writers.
• Additional samples of MLA and APA reference entries.
The Full Handbook (978-0-472-03403-1) and Workbook (978-0-472-03404-8) are also available.
Some of the contributors lay bare the rigorous methods of literary translation in comparisons of various translations of the same piece; some discuss the problems of translating a specific passage; others speak about the lessons learned over the course of a career in translation. As these essays make clear, translators work in the space between languages and, in so doing, provide insights into the ways in which a culture makes the world verbal. Exemplary readers both of authors and of their individual works, the translators represented in this collection demonstrate that the methodologies derived from the art and craft of translation can serve as a model to revitalize the interpretation and understanding of literary works.
Readers will find the opportunity to look over the shoulders of the translators gathered together in this volume an exciting and surprising experience. The act of translation emerges both as a powerful integration of linguistic, semantic, cultural, and historical thinking and as a valuable commentary on how we communicate both within a culture and from one culture to another.
Editing is a tricky business. It requires analytical flair and creative panache, the patience of a saint and the vision of a writer. Transforming a manuscript into a book that edifies, inspires, and sells? That’s the job of the developmental editor, whose desk is the first stop for many manuscripts on the road to bookdom—a route ably mapped out in the pages of Developmental Editing.
Author Scott Norton has worked with a diverse range of authors, editors, and publishers, and his handbook provides an approach to developmental editing that is logical, collaborative, humorous, and realistic. He starts with the core tasks of shaping the proposal, finding the hook, and building the narrative or argument, and then turns to the hard work of executing the plan and establishing a style.
Developmental Editing includes detailed case studies featuring a variety of nonfiction books—election-year polemic, popular science, memoir, travel guide—and authors ranging from first-timer to veteran, journalist to scholar. Handy sidebars offer advice on how to become a developmental editor, create effective illustration programs, and adapt sophisticated fiction techniques (such as point of view, suspense, plotting, character, and setting) to nonfiction writing.
Norton’s book also provides freelance copyeditors with a way to earn higher fees while introducing more creativity into their work lives. It gives acquisitions, marketing, and production staff a vocabulary for diagnosing a manuscript’s flaws and techniques for transforming it into a bestseller. And perhaps most importantly, Developmental Editing equips authors with the concrete tools they need to reach their audiences.
Developmental editing—transforming a manuscript into a book that edifies, inspires, and sells—is a special skill, and Scott Norton is one of the best at it. With more than three decades of experience in the field, Norton offers his expert advice on how to approach the task of diagnosing and fixing structural problems with book manuscripts in consultation with authors and publishers. He illustrates these principles through a series of detailed case studies featuring before-and-after tables of contents, samples of edited text, and other materials to make an otherwise invisible process tangible.
This revised edition for the first time includes exercises that allow readers to edit sample materials and compare their work with that of an experienced professional as well as a new chapter on the unique challenges of editing fiction. In addition, it features expanded coverage of freelance business arrangements, self-published authors, e-books, content marketing, and more.
Whether you are an aspiring or experienced developmental editor or an author who works alongside one, you will benefit from Norton’s accessible, collaborative, and realistic approach and guidance. This handbook offers the concrete and essential tools it takes to help books to find their voice and their audience.
Offering the everyday tasks of literary editors as inspired sources of postwar literary history
Michel Foucault famously theorized “the author function” in his 1969 essay “What Is an Author?” proposing that the existence of the author limits textual meaning. Abram Foley shows a similar critique at work in the labor of several postwar editors who sought to question and undo the corporate “editorial/industrial complex.” Marking an end to the powerful trope of the editor as gatekeeper, The Editor Function demonstrates how practices of editing and publishing constitute their own kinds of thought, calling on us to rethink what we read and how.
The Editor Function follows avant-garde American literary editors and the publishing practices they developed to compete against the postwar corporate consolidation of the publishing industry. Foley studies editing and publishing through archival readings and small press and literary journal publishing lists as unique sites for literary inquiry. Pairing histories and analyses of well- and lesser-known figures and publishing formations, from Cid Corman’s Origin and Nathaniel Mackey’s Hambone to Dalkey Archive Press and Semiotext(e), Foley offers the first in-depth engagement with major publishing initiatives in the postwar United States.
The Editor Function proposes that from the seemingly mundane tasks of these editors—routine editorial correspondence, line editing, list formation—emerge visions of new, better worlds and new textual and conceptual spaces for collective action.
The ESL Writer’s Handbook is a reference work for ESL students who are taking college-level courses. Because its purpose is to provide help with the broad variety of writing questions students may have when working on school assignments, the text focuses on
English for Academic Purposes. Unlike other handbooks on the market, this book’s sole purpose is to address the issues of second language learners.
This spiral-bound Handbook complements a student writer’s dictionary, thesaurus, and grammar reference book. It would be suitable as a text for an advanced ESL writing course when used together with the companion Workbook (978-0-472-03404-8). The Handbook is concise and easily navigated; is accessible, with clear and direct explanatory language; features information on both APA and MLA styles (including a sample paper for each); and includes many examples from ESL student writers to provide realistic models.
Included as special features in the Handbook are:
• The topic selection is based on ESL writers’ needs as observed by the authors over many years.
• The coverage of topics is more complete than the limited amount usually provided for ESL writers in first language or L1 handbooks.
• The explanatory language is appropriate for ESL students, in contrast to the more complex and idiomatic language of other English handbooks.
• The level of detail is more manageable for ESL students, compared to what is in other English handbooks.
- Many of the examples of paragraphs, essays, research papers, and exercise sentences were written by ESL students; this encourages users of this Handbook to realize that they can also become effective writers.
This book is designed to help you find out. Based on an award-winning course and workshop series at the University of Michigan taken by students training to enter a wide range of fields—law, business, medicine, social work, public policy, design, engineering, and many more—it removes the guesswork from figuring out how to communicate clearly and compellingly. All of us have ideas that are worth sharing. Why not learn how to convey yours in a way that people will appreciate, enjoy, and remember?
In Homeric studies, there has been an ongoing debate centering on different ways to establish the text of Homer and the different ways to appreciate the poetry created in the language of Homer. Gregory Nagy, a lifelong Homer scholar, takes a stand in the midst of this debate. He presents an overview of millennia of scholarly engagement with Homer's poetry, shows the different editorial principles that have been applied to the texts, and evaluates their impact.
Like its predecessor, this edition of Indexing Books offers comprehensive, reliable treatment of indexing principles and practices relevant to authors and indexers alike. In addition to practical advice, the book presents a big-picture perspective on the nature and purpose of indexes and their role in published works. New to this edition are discussions of "information overload" and the role of the index, open-system versus closed-system indexing, electronic submission and display of indexes, and trends in software development, among other topics.
Mulvany is equally comfortable focusing on the nuts and bolts of indexing—how to determine what is indexable, how to decide the depth of an index, and how to work with publisher instructions—and broadly surveying important sources of indexing guidelines such as The Chicago Manual of Style, Sun Microsystems, Oxford University Press, NISO TR03, and ISO 999. Authors will appreciate Mulvany's in-depth consideration of the costs and benefits of preparing one's own index versus hiring a professional, while professional indexers will value Mulvany's insights into computer-aided indexing. Helpful appendixes include resources for indexers, a worksheet for general index specifications, and a bibliography of sources to consult for further information on a range of topics.
Indexing Books is both a practical guide and a manifesto about the vital role of the human-crafted index in the Information Age. As the standard indexing reference, it belongs on the shelves of everyone involved in writing and publishing nonfiction books.
To succeed in law, business, education, government, health care, and many other fields, it is becoming increasingly important to distinguish yourself as a savvy communicator. Social media has only accelerated the ways in which we all must learn to use our words to connect, compete, and create. There are features of the English language, however, that many of us haven’t taken full advantage of yet. Notes on Nuance is designed to help change that.
Drawing on a diverse collection of authors—from novelists to physicists, from ancient Greek historians to modern-day CEOs—it reveals the hidden mechanics that skilled writers use to add style and sophistication to their sentences and slogans. It’s the perfect resource for people who are looking to do more with their written words.
This book includes materials from a popular course called “Good with Words: Writing and Editing” that Professor Patrick Barry created at both the University of Michigan Law School and the University of Chicago Law School. An online version of that course is now available through the educational platform Coursera.
So you’ve just finished writing something? Congratulations! Now revise it. Because revision is about getting from good to better, and it’s only finished when you decide to stop. But where to begin? In On Revision, William Germano shows authors how to take on the most critical stage of writing anything: rewriting it.
For more than twenty years, thousands of writers have turned to Germano for his insider’s take on navigating the world of publishing. A professor, author, and veteran of the book industry, Germano knows what editors want and what writers need to know: Revising is not just correcting typos. Revising is about listening and seeing again. Revising is a rethinking of the principles from the ground up to understand why the writer is doing something, why they’re going somewhere, and why they’re taking the reader along with them.
On Revision steps back to take in the big picture, showing authors how to hear their own writing voice and how to reread their work as if they didn’t write it. On Revision will show you how to know when your writing is actually done—and, until it is, what you need to do to get it there.
In this second edition, Saller adds new chapters, on the dangers of allegiance to outdated grammar and style rules and on ways to stay current in language and technology. She expands her advice for writers on formatting manuscripts for publication, on self-editing, and on how not to be “difficult.” Saller’s own gaffes provide firsthand (and sometimes humorous) examples of exactly what not to do. The revised content reflects today’s publishing practices while retaining the self-deprecating tone and sharp humor that helped make the first edition so popular. Saller maintains that through carefulness, transparency, and flexibility, editors can build trust and cooperation with writers.
The Subversive Copy Editor brings a refreshingly levelheaded approach to the classic battle between writers and editors. This sage advice will prove useful and entertaining to anyone charged with the sometimes perilous task of improving the writing of others.
In What Editors Do, Peter Ginna gathers essays from twenty-seven leading figures in book publishing about their work. Representing both large houses and small, and encompassing trade, textbook, academic, and children’s publishing, the contributors make the case for why editing remains a vital function to writers—and readers—everywhere.
Ironically for an industry built on words, there has been a scarcity of written guidance on how to actually approach the work of editing. This book will serve as a compendium of professional advice and will be a resource both for those entering the profession (or already in it) and for those outside publishing who seek an understanding of it. It sheds light on how editors acquire books, what constitutes a strong author-editor relationship, and the editor’s vital role at each stage of the publishing process—a role that extends far beyond marking up the author’s text.
This collection treats editing as both art and craft, and also as a career. It explores how editors balance passion against the economic realities of publishing. What Editors Do shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever.
Revision might seem to be an intrinsic part of good writing. But Hannah Sullivan argues that we inherit our faith in the virtues of redrafting from early-twentieth-century modernism. Closely examining changes made in manuscripts, typescripts, and proofs by T. S. Eliot, Ezra Pound, Ernest Hemingway, James Joyce, Virginia Woolf, and others, she shows how modernist approaches to rewriting shaped literary style, and how the impulse to touch up, alter, and correct can sometimes go too far.
In the nineteenth century, revision was thought to mar a composition’s originality—a prejudice cultivated especially by the Romantics, who believed writing should be spontaneous and organic, and that rewriting indicated a failure of inspiration. Rejecting such views, avant-garde writers of the twentieth century devoted themselves to laborious acts of rewriting, both before and after publishing their work. The great pains undertaken in revision became a badge of honor for writers anxious to justify the value and difficulty of their work. In turn, many of the distinctive effects of modernist style—ellipsis, fragmentation, parataxis—were produced by zealous, experimental acts of excision and addition.
The early twentieth century also saw the advent of the typewriter. It proved the ideal tool for extensive, multi-stage revisions—superior even to the word processor in fostering self-scrutiny and rereading across multiple drafts. Tracing how master stylists from Henry James to Allen Ginsberg have approached their craft, The Work of Revision reveals how techniques developed in the service of avant-garde experiment have become compositional orthodoxy.
In this newly reissued volume in the Rutgers University Press Classics Imprint, Writing in America proves to be as stimulating as it was in 1960. Here, writers including Robert Brustein, Stanley Kunitz, and C.P. Snow examine the state of writing in American novels, films, and television candidly and critically. The result is a collection of essays that showcase a first-rate and highly entertaining piece of reporting on the American literary scene that resonate in 2017.
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