Editing

Blog Posts (originally published on the Ooligan Press blog)

• Inside Ooligan Press: What Does the Copy Chief Actually Do?

  Editing is a huge part of the book publishing process, this isn’t new information; but, did you know that almost everything that you see from Ooligan Press is also edited by an editor? Unlike the Managing Editor, the Copy Chief doesn’t have as many predetermined deadlines or rush to compile a copyedit to get it to an author. Instead, Copy Chief acts as a glossy finish to everything that gets presented to people outside the press, beyond the books that is.

  As the 2022-2023 Copy Chief, I work with almost every department and project manager at Ooligan. Social media, blogs, marketing plans, press kits, blurb and review requests, and many more documents go through me before they ever see the light of day.

  Our primary document is the marketing plan. This is one of the first documents a project team produces that I see. After I make sure the comp titles are accurate, the hook and book description are error free, and the author bio, marketing and publicity highlights, key selling points, and everything sound good and are as error free as possible every other document for that project can be based off of that approved copy. This usually takes a couple days to do a first and second pass, each of those taking at least two hours.

  After that I see the CoreSource tipsheet, press kit, designed press kit and tipsheet, and blurb and review requests. Then I check the copy on the cover of the galley and final designed cover to make sure it matches the marketing plan and that there were no errors missed or introduced. Then after it is printed I edit award submissions, social media posts, event flyers and bookmarks, and anything else being produced that is shown to booksellers, sales reps, readers, etc.

  One unusual aspect of this role is that I also oversee the timeline for one of our books. Usually this is for the Library Writers Project (LWP), which helps authors self-publish ebooks through the library’s OneDrive. In 2018 this led to a partnership between Ooligan Press and Multnomah County Library where we at Ooligan find a manuscript to publish in print from their submissions. I work with the project manager to select a manuscript. After we acquire a book, it goes through the regular process of being published at Ooligan. And submissions are open in April!

  However, our next book for this slot is a little different. Due to COVID-19, we took a break for the LWP book for 2023 and our 2024 title is one of Ooligan’s first translations, the French Sci-Fi Project. I work closely with the project manager and project team and copyediting team for this project.

  I really enjoy getting to see everything that the press produces. From keeping up with the wide range of topics that this blog covers to watching how and if any of the metadata changes, I love seeing the inner workings and working with just about everyone at the press and every department. I can’t wait to work closer with the copyediting team for the French Sci-Fi Project.

• Book Recs for Eager Editors

  The last time I went into a large, unnamed, corporate bookstore in search of a book about editing, I found a half-shelf in the reference section dedicated to some things publishing. Out of the whole bookstore, that was the only place I found books about books. While some independent bookstores may be more helpful in providing resources to dive into editing, here’s a list of books all about editing that will make the journey of exploring editorial experience a little easier.

  What Editors Do: The Art, Craft, and Business of Book Editing by Peter Ginna

  A collection of essays from professionals across the industry, this book is a great way to get an insight into multiple perspectives and how editing can be viewed as a craft and as a career. Founder of Bloomsbury Press, an imprint of Bloomsbury USA, Peter Ginna has the background and experience to understand the facets of publishing and create an informed list of essays to cover the full experience of book editing.

  The Subversive Copyeditor: Advice from Chicago (or, How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself) by Carol Fisher Saller

  This book is a great resource for copyeditors when you are building and maintaining relationships with authors, other people in publishing, and yourself. A guide to keeping the peace when it comes to author–editor relationships, this book makes for a great pairing with What Editors Do with a little more practical advice for being on the job. The author is also a former senior manuscript editor at the University of Chicago Press, former chief copyeditor of the sixteenth edition of the Chicago Manual of Style, so you know this book was created by someone who really knows her stuff.

  17th edition Chicago Manual of Style (or your preferred style guide)

  Having a copy of the Chicago Manual of Style, or whatever style guide I am working with, open and available to reference while I am working is an invaluable resource. Whether it’s online or in physical form, being able to look up questions about commas or numbers with ease makes a huge difference when you’re sitting down for a long day of editing. I love being able to flip to the index or search bar of the Chicago Manual of Style online without having to wade through Google results written by unknown authors with varying levels of expertise. Personally, I love my paper copy, but the online Q&A can help answer hyper-specific questions that you may not be able to find elsewhere.

  There are so many books on editing out there for editing at every stage of the book process. Hopefully this list can kickstart your journey and guide you to more resources as you read. Happy editing!

• Quick Guide to Formatting In-Text Titles in Chicago Style

  As Copy Chief at Ooligan Press, I am often faced with titles in the documents I edit. This can include book titles for blurbs, comp titles in marketing plans, media outlets in tipsheets, and a variety of references in blog posts like this one. Some of these are easy to remember. For example, book titles are set in italics according to The Chicago Manual of Style; however, if we are posting to social media, the book title should be entirely capitalized as italics is more difficult in a caption on those platforms. In addition, if I am editing something like a press kit, I need to make sure that the book titles are formatted according to the AP Stylebook and are in double quotes instead. Balancing these style guides and mediums can make it difficult to remember how titles are formatted. In addition, we read content all the time that doesn’t align to any style guide at all and title formatting is based on what the author may vaguely remember from high school. This guide will help clear up some of that confusion and create a document that you can refer back to whenever you come across this problem in your own writing or editing.

  As a general rule, Chicago suggests “italics to set off the titles of major or freestanding works such as books, journals, movies, and paintings. . . . the names of ships and other craft, species names, and legal cases.” In addition, they recommend “Quotation marks are usually reserved for the titles of subsections of larger works—including chapter titles and article titles and the titles of poems in a collection.” Further, some titles do not need to be formatted in italics or quotation marks at all, such as “a book series or a website, under which any number of works or documents may be collected.” Chapter 8.2 of The Chicago Manual of Style establishes this general rule and presents us with a backdrop against which we can make future editorial decisions.

  Italics

  • Names of single volume books: “I enjoyed reading The Book Thief.”
  • Names of multivolume work and individual volumes within a multivolume work
  • Names of the titles of the works in the collection, in a collection of works that features works that were published as separate books: “The introduction to the Critique of Pure Reason in Kant’s Collected Works . . .”
  • Names of pamphlets, reports, and similar freestanding publications
  • Names of periodicals such as newspapers
  • Names of magazines, journals, reviews (unless the words “magazine,” “journal,” or “review” are in the name of the publication these words are not italicized; for example, Time magazine)
  • Names of a very long poetic work, especially one constituting a book: Dante’s Inferno
  • Names of plays
  • Names of blogs and video blogs
  • Names of books that have online or website equivalent: The Chicago Manual of Style Online; the online edition of The Chicago Manual of Style
  • Names of video games
  • Names of operas, oratorios, tone poems, and other long musical compositions
  • Names of movies (or films) and movie series and of television, radio, and podcast programs and series

  Quotation Marks

  • Names of articles and features in periodicals and newspapers, chapter and part titles, titles of short stories or essays, and individual selections in books
  • Names of (most) poems: Robert Frost’s poem “The Housekeeper” in his collection North of Boston.
  • Names of individual blog posts
  • Names of folktales, fables, fairy tales, and nursery rhymes
  • Names of songs and other shorter musical compositions
  • Names of a single episode in a television, radio, or podcast series
  • Names of
  • Names of titled sections, pages, or special features on a website

  No Italics Or Quotation Marks

  • Names of book series
  • Names of regular columns or departments in periodicals
  • Names of websites: Wikipedia; Wikipedia’s “Let It Be” entry; Wikipedia’s entry on the Beatles’ album Let It Be
  • Names of networks, channels, and streaming services

  In general, longer form content or content that has other works within it should be set in italics, while the short form content or works within works should be set in Roman type with quotation marks. When in doubt, check The Chicago Manual of Style. Happy writing and editing!

• Using Inclusive Language for Asexuality

  October 23 to October 29 is Asexuality Awareness Week! So to wrap up this week, I wanted to explain what asexuality is and share some resources on how edit or write about asexuality in a conscientious and thoughtful way. One of the primary ways of editing underrepresented voices that you may not have experience editing is to get familiar with style guides that will “help you develop a basic understanding of inclusive, empowering, and respectful language.”

  What is a style guide?

  A style guide is used to guide the editing of a project. Editors will include character names, prominent locations, editorial decisions, and other elements of a text or project that they might need to refer to later in a text on the style guide. They can also be used to maintain consistency if the project is passed between editors. The goal of these guides is to ensure consistency across a project; for example, style guides make sure “grey” and “gray” are not used interchangeably. In order to make style guides more inclusive and guarantee that editors are catching moments that could interrupt a reader’s experience, editors can read guides that discuss how to treat language surrounding underrepresented identities so they can catch when these identities are not being treated accurately by authors. For examples on such style guides, try Radical Copyeditor, Disability Language Style Guide, Conscious Style Guide, A Progressive’s Style Guide, GLAAD Media Reference Guide, and Race Reporting Guide.

  Asexuality: What is it?

  Asexuality is a spectrum of attraction in which a person does not experience sexual attraction. It encompasses many different terms along its spectrum including demisexual and grey asexual. Being asexual does not always mean that someone doesn’t have sex or doesn’t enjoy it, but it can. Under the umbrella of sexuality, there are people who are sex-positive and don’t mind having sex and there are people who are sex-repulsed and don’t like hearing, thinking, or talking about sex. Some asexuals even experience arousal or have a high libido without feeling sexual attraction or a desire for sex.

  Attraction

  One helpful way to look at asexuality is to break down attraction. There are a few levels of attraction: sexual attraction, romantic attraction, sensual attraction, and aesthetic attraction. Sexual and romantic attraction are often combined in allosexual and alloromantic people (people who experience sexual and romantic attraction), but they are not necessarily the same thing. An asexual person might experience romantic attraction, defined by the Asexuality Archive as “A sense of ‘I would like to be involved in a romantic relationship with that person,'” but they wouldn’t also experience sexual attraction, defined as “A sense of ‘I would like to engage in sexual activity with that person.'” Each of these types of attraction is on its own spectrum.

  Similarly, sensual attraction and aesthetic attraction do not exist on either of those spectrums. Aesthetic attraction is defined as “Non-sexual/non-romantic attraction to the way someone looks. Often described as the desire to ‘admire someone like a painting’, but not necessarily anything further,” while sensual attraction is defined as “A sense of ‘I would like to engage in sexual activity with that person.'” Keep in mind that these definitions are somewhat fluid due to the difficulty of defining these feelings and the differences of the human experience. Everyone’s experience is different, and it’s important to listen to people when they have their own definitions for their identities.

  Food for Thought

  Allosexual people can sometimes be careless when discussing sex because for many it is a natural part of life; however, for asexual (or ace) people, not feeling sexual attraction is just as natural. The Conscious Copyeditor links this article, under their sexuality section, about how easily ace people can feel alienated by cultural norms, especially when prioritizing sex as the “pinnacle of happiness” or saying that sex is part of being human or having a successful relationship.

  If you are curious about learning more about asexuality or have questions, try exploring the Asexual Visibility and Education Network, or AVEN, for more nuance.

• Ethical Choice May Favor Smaller Presses over the Power of the Big Five

  In general, many people view publishing as a monolith, a pillar made up of the Big Five publishers that we all work with and rely on to produce the books that people are used to hearing about. This is true in some ways: the larger publishers tend to have larger marketing budgets, so we are bound to hear about some of the most funded upcoming titles, and celebrities with existing fanbases can receive higher advances from the larger publishers because they have the economic capacity to pay these high prices. However, as the Big Five (Penguin RandomHouse, HarperCollins, Simon & Schuster, Hachette, and Macmillan in no particular order) continue to acquire and merge, smaller publishers can expand into the niches and the spaces that are left behind by the Big Five.

  One of the side effects of being a part of a large company—at any level, imprint or otherwise—is working with people who make decisions that you might not agree with socially, ethically, or morally. In addition, there are so many people involved in the production of books that there is no way for readers to know who is behind them without a deep dive into the inner workings of a whole industry. This makes it even more noticeable when people take actions or stage protests against co-workers or clients of the same publisher, editor, or literary agency.

  Some movements within the publishing industry as a whole address problems in traditional trade publishing such as #BlackoutBestsellersList and #PublishingPaidMe, which both address different problems with how Black authors are treated. Employees at Little, Brown and Company, an imprint of Hachette, staged a walkout to protest the publication of Woody Allen’s autobiography. In addition, a variety of memoirs and biographies have been have been canceled at some point during their production, including Blake Baily’s biography of Philip Roth, as well as his own memoir, due to claims of sexual misconduct.

  In 2020, four authors represented by the Blair Partnership, a literary agency founded to work with J. K. Rowling, resigned after the agency refused to issue a statement in support of the transgender rights following a series of transphobic tweets by Rowling. In addition, Hachette UK employees attempted to convey that they didn’t feel comfortable working on Rowling’s 2020 kids book because of her transphobic views and were met with a statement from Hachette which said, “We will never make our employees work on a book whose content they find upsetting for personal reasons, but we draw a distinction between that and refusing to work on a book because they disagree with an author’s views outside their writing, which runs contrary to our belief in free speech.”

  It’s not exactly the support one would hope for in an employer, but it is the response most would expect to come from a larger company that prioritizes the economic payoffs over a social issue that doesn’t affect most, if not all, of those in power. This is where small publishers may have the advantage. If consumers want to support people and businesses that they believe in, it is not feasible to fully support larger scale businesses. However, even though small publishers are also bound by some financial considerations as their larger counterparts, they have the unique ability to dedicate themselves to specific issues or people that traditional large publishers often leave behind and they can do so in a more mission-oriented way.

  Although efforts have been made to create a publishing culture in which everyone can be represented, sometimes that leads to voices that cause damage to others being headlined. If you are someone who attempts to know exactly where everything you consume comes from, smaller publishers may provide an opportunity for this knowledge. Smaller publishers provide authors and publishing professionals with spaces in which they can truly believe in their message and the people they work with, which may be the future of book buying.