First published in 1918, William Strunk Jr.'s The Elements of Style is a guide to writing in American English. The boolk outlines eight "elementary rules of usage", ten "elementary principles of composition", "a few matters of form", a list of 49 "words and expressions commonly misused", and a list of 57 "words often misspelled". A later edition, enhanced by E B White, was named by Time magazine in 2011 as one of the 100 best and most influential books written in English since 1923.
Essays from twenty-seven leading book editors: “Honest and unflinching accounts from publishing insiders . . . a valuable primer on the field.” —Publishers Weekly Editing is an invisible art in which the very best work goes undetected. Editors strive to create books that are enlightening, seamless, and pleasurable to read, all while giving credit to the author. This makes it all the more difficult to truly understand the range of roles they inhabit while shepherding a project from concept to publication. What Editors Do 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 approach the work of editing. Serving as a compendium of professional advice and a portrait of what goes on behind the scenes, this book 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—and shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever. “Authoritative, entertaining, and informative.” —Copyediting
As the knowledge economy takes shape, editors face many challenges. Technology is transforming publishing, text is losing out to graphics, and writing is distorted by cliché, hype and spin. More than ever, editors are needed to add value to information and to rescue readers from boredom and confusion. The Editor's Companion explains the traditional skills of editing for publication and how to adapt them for digital production. It describes the editorial tasks for print and screen publications, from fantasy novels and academic texts to web pages and government documents. It is an essential tool for professional editors, as well as media and publications officers, self-publishers and writers editing their own work. This revised edition features extended coverage of on-screen editing, single-source publishing and digital rights, a comprehensive glossary of editing terms and a companion website developed especially for students that includes editing exercises, expert 'tips' and essential weblinks.
How to transform a thesis into a publishable work that can engage audiences beyond the academic committee. When a dissertation crosses my desk, I usually want to grab it by its metaphorical lapels and give it a good shake. “You know something!” I would say if it could hear me. “Now tell it to us in language we can understand!” Since its publication in 2005, From Dissertation to Book has helped thousands of young academic authors get their books beyond the thesis committee and into the hands of interested publishers and general readers. Now revised and updated to reflect the evolution of scholarly publishing, this edition includes a new chapter arguing that the future of academic writing is in the hands of young scholars who must create work that meets the broader expectations of readers rather than the narrow requirements of academic committees. At the heart of From Dissertation to Book is the idea that revising the dissertation is fundamentally a process of shifting its focus from the concerns of a narrow audience—a committee or advisors—to those of a broader scholarly audience that wants writing to be both informative and engaging. William Germano offers clear guidance on how to do this, with advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision. Germano draws on his years of experience in both academia and publishing to show writers how to turn a dissertation into a book that an audience will actually enjoy, whether reading on a page or a screen. He also acknowledges that not all dissertations can or even should become books and explores other, often overlooked, options, such as turning them into journal articles or chapters in an edited work. With clear directions, engaging examples, and an eye for the idiosyncrasies of academic writing, he reveals to recent PhDs the secrets of careful and thoughtful revision—a skill that will be truly invaluable as they add “author” to their curriculum vitae.
A “fascinating” look at what students in Russia, France, Iran, and other nations are taught about America (The New York Times Book Review). This “timely and important” book (History News Network) gives us a glimpse into classrooms across the globe, where opinions about the United States are first formed. History Lessons includes selections from textbooks and teaching materials used in Russia, France, Iran, Saudi Arabia, Cuba, Canada, and others, covering such events as the American Revolution, the Cuban Missile Crisis, the Iran hostage crisis, and the Korean War—providing some alternative viewpoints on the history of the United States from the time of the Viking explorers to the post-Cold War era. By juxtaposing starkly contrasting versions of the historical events we take for granted, History Lessons affords us a sometimes hilarious, often sobering look at what the world thinks about America’s past. “A brilliant idea.” —Foreign Affairs
Follows the adventures of Talia as she trains to become a Herald of Valdemar in the first book in the classic epic fantasy Arrows trilogy Chosen by the Companion Rolan, a mystical horse-like being with powers beyond imagining, Talia, once a runaway, has now become a trainee Herald, destined to become one of the Queen’s own elite guard. For Talia has certain awakening talents of the mind that only a Companion like Rolan can truly sense. But as Talia struggles to master her unique abilities, time is running out. For conspiracy is brewing in Valdemar, a deadly treason that could destroy Queen and kingdom. Opposed by unknown enemies capable of both diabolical magic and treacherous assassination, the Queen must turn to Talia and the Heralds for aid in protecting the realm and insuring the future of the Queen’s heir, a child already in danger of becoming bespelled by the Queen’s own foes.
Who’s Crazy? What does it mean to be crazy? Is using the word crazy offensive? What happens when a label like that gets attached to your everyday experiences? To understand mental health, we need to talk openly about it. Because there’s no single definition of crazy, there’s no single experience that embodies it, and the word itself means different things—wild? extreme? disturbed? passionate?—to different people. In (Don’t) Call Me Crazy, thirty-three actors, athletes, writers, and artists offer essays, lists, comics, and illustrations that explore a wide range of topics: their personal experiences with mental illness, how we do and don’t talk about mental health, help for better understanding how every person’s brain is wired differently, and what, exactly, might make someone crazy. If you’ve ever struggled with your mental health, or know someone who has, come on in, turn the pages . . . and let’s get talking.
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
