The Elements of Editing: A Modern Guide for Editors and Journalists, reissue ed.
by Arthur Plotnik
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Macmillan (New York): May 1997. Trade paperback: xiv, 156 pages. ISBN-10: 0-02-861451-8 Suggested retail price: $9.95 (US) Tactical strength: [8/10] |
Plotnik offers his observations and advice about editing that he gained from years of experience in the field. He acknowledges that most editors cram six weeks worth of work into four weeks and repeat this accomplishment every four weeks. He also emphasizes that editors barely receive sufficient compensation. It is probably the compulsiveness that Plotnik says all editors should feel that keeps them in this business at all.
Compulsiveness comes in two types: good and bad. The good type of compulsiveness causes editors to check all the facts, read the final proof just one more time in search of the elusive typo, and to follow up since "virtually nothing happens when it is supposed to happen without well-times reminders" (5). Editors with the bad type of compulsiveness strictly hold to rules rather than searching for effective communication, concentrate too long on the design elements, and change every passive construction into an active one. Compulsiveness is necessary for an editor, but it should lead toward better communication with the audience, not making the issue late because you had to check every character to be sure it was developed correctly.
Plotnik describes the life of a manuscript from acquisition to publication -- an excellent summary for the novice and an insightful observation to the experienced editor. He lists details for often unexplained processes such as registering the copyright and seeking permissions.
The editor makes peace between the writer and the publisher, but the final responsibility must be to the reader. When there are conflicts of opinion, communication with the reader must take precedence over pleasing the publisher or writer. "The readers are served best when the editor has preserved the author's strengths and eliminated only the weaknesses in communication." Thus, one should strive to preserve the author's style and tone as much as possible, while rooting out all the inaccurate information, poor constructions, and mistaken grammar.
The best tool for a copy editor is a good ear -- one developed by extensive and continuous reading over a broad spectrum. This way the editor can spot the misplaced superscript in the chemical formula and also catch errors made in classical allusions. It also helps to understand the audience who will finally read what you have edited. So study the letters to the editor and the responses to advertising. And it never hurts to be familiar with grammar and usage -- but don't use it as a crutch. There is broad disagreement about many points of usage, so grab a usage guide and make the best decision you can as fast as you can. No one is served if you spend hours deliberating a single point of grammar.
What I would usually call "source checking," he calls "troubleshooting," although troubleshooting is a lot broader and includes checking for libelous statements, invasion of privacy, and copyright violations. He provides detailed information about copyrights and libel giving definitions and some situational examples. These provide an excellent resource for quick reference on these topics. He also provides a bibliography of works he recommends editors keep on their shelf. These range from grammar and style manuals to single-volume encyclopedias for quick fact checking.
Another valuable chapter discusses the various procedures and terms used when dealing with graphics. Halftones, line screens, and stripping are all discussed and concisely defined. Plotnik also included a chapter of basic photography for editors. He argues that if you know the basics of composing and taking good photographs, then when you have to select photographs for a story, you will have a better understanding of what makes a good photograph. There is no denying this conclusion, but it seems to me that a summary of good photo composition and layout with a recommendation to learn to take photographs would have served most who seek to become editors. How to set the shutter speed of a camera, to me, is not one of the elements of editing.
Overall, The Elements of Editing provides an excellent overview of the editing business for the novice and a handy resource of information for the established editor. The bibliography and the many terms succinctly defined make this a valuable tool that should always be within reach from the editor's chair.
