|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||||||
|
||||||||
|
|
||||||||
What is technical writing? Who are technical writers? Can you update my Web site content? Can you write something from scratch? Can I see some writing or editing samples? What kind of editing do you do? What if I just want you to check for typos? My book’s in pretty good shape already. Do you charge for manuscript review? How do I choose an editor? There are hundreds of freelance editors out there. What are your qualifications as a professional writer and editor? Where can I learn more about the craft of writing? Can I learn to edit my own work? How important is it for an editor to be familiar with the topic of my book? What is a style sheet? Why does my book need one? Do I have to do anything with it? How do you handle working with long-distance clients? Q: What is technical writing? Who are technical writers? A: We’re a special breed who turn gobbledygook into something you can understand. “Technical writing, a form of technical communication, is a style of formal writing, used in fields as diverse as computer hardware and software, chemistry, the aerospace industry, robotics, finance, consumer electronics, and biotechnology. “Good technical writing clarifies technical jargon; that is, it presents useful information that is clear and easy to understand for the intended audience. …This could mean telling a programmer how to use a software library, or telling a consumer how to operate a television remote control. Technical writers gather information from existing documentation, and from subject matter experts…A good technical writer needs strong language skills, and must understand the highly evolved conventions of modern technical communications. For technical documents to be useful, readers must understand and act on them without having to decode wordy and ambiguous prose.” (http://en.wikipedia.org/wiki/Technical_writing) “A technical writer is a professional writer who designs, creates, maintains, and updates technical documentation—including online help, user guides, white papers, design specifications, and other documents. Engineers, scientists, and other professionals may also produce technical writing, often handing their work to a professional technical writer for editing and formatting. …Companies, governments and other institutions hire technical writers not for their expertise in a particular subject, but for their expertise in technical writing, i.e. in gathering information, analyzing the subject and the audience, and producing clear documentation.” (http://en.wikipedia.org/wiki/Technical_writer) “The technical writer is the link between those who understand the subject in detail, usually the designers and engineers who created it, and those who need to understand its function and maintenance requirements, usually users and maintainers. The technical writer is adept at highlighting and presenting relevant technical information in a way that makes it easy to understand and find. This can include, depending upon the intended readership, the removal of jargon, the application of consistent terminology, the sequencing of descriptions and instructions and the inclusion of relevant warnings or cautions.” (http://www.freewritingadvice.com/articles/index_files/65techauthor.htm) See also the STC article The Value of Technical Communication (“Are you a manager considering hiring a technical writer?” and “How technical writers add value to your team”). Q: Can you update my Web site content? Can you write something from scratch? A: Yes, I can help. I’ve written and edited text for Web sites and have completed coursework on creating effective Web content (Information Mapping’s “Making Web Content Work”). I can refer you to a couple of trusted webmasters if you need a Web site created or hosted (that’s not something I do). Note that Web designers don’t usually write content for their clients; they format and upload the text you give them. Q: Can I see some writing or editing samples? A: Please e-mail me and I’ll send you a writing sample that’s tailored to your focus, e.g., technical, marketing, business, general nonfiction, fiction. As for editing, the best sample is one made from your project that addresses your specific needs, for example, copyediting or developmental editing. E-mail me to request a sample edit of your project. Q: What kind of editing do you do? A: “Editing” can mean a number of different things, but editors who work closely with the content of a piece of writing generally fall into two categories: copyeditors and developmental editors. Copyediting is also known as mechanical editing, content editing, line editing, and substantive editing. Note that proofreading and editing are different functions, though people unfamiliar with the terminology often confuse the two. For more about copyediting (and proofreading), see the Bay Area Editors’ Forum Web site. Copyediting can be performed at a light, medium, or heavy level; the heaviest level of copyediting is more or less equivalent to a line/content/substantive edit. The terms content, line, and substantive editing are often used interchangeably. Chicago 2.51 describes mechanical editing (copyediting) thus: “It refers to consistency in capitalization, spelling, hyphenation, table format, use of abbreviations, and so forth; correctness of punctuation, including ellipsis points, parentheses, and quotation marks; the way numbers are treated; consistency between text, tables, and illustrations; citation format; and other matters of style in the sense described in 2.52. Mechanical editing also includes attention to grammar, syntax, and usage….” Developmental editing refers to reorganizing, restructuring, even re-thinking an entire work, and is a more advanced editing process. Per Chicago 2.48, developmental editing “addresses more radically the content of a work, the way material should be presented, the need for more or less documentation and how it should be handled, and so on. Since editing of this kind may involve total rewriting or reorganization of a work, it should be done—if needed—before manuscript editing [copyediting] begins.” Not every editor does every type of editing, and the definitions can vary depending on who you’re talking to. For additional information see Chicago 2.48, 2.51, 2.52, and 2.55. (You should be able to find a current copy of The Chicago Manual of Style at your library; you can buy the book in the usual spots; or you can subscribe to the online version at http://chicagomanualofstyle.org.) Q: What if I just want you to check for typos? My book’s in pretty good shape already. A: Unless you are a fairly experienced writer with a number of successfully completed manuscripts, chances are that your book needs a bit more than typo eradication: it probably needs at least a light copyedit (see “What kind of editing do you do?”). Fiction usually requires a sensitive, almost invisible touch from the editor. Additionally, fiction editing is a specialized field and not every editor will tackle novels. (I will consider fiction on a case-by-case basis.) See Resources for some excellent books on fiction editing. Q: Why do you need to review my manuscript before you’ll tell me how much editing will cost or how long it’ll take? How long does it take to edit a book? A: Because each manuscript is unique—even category romances aren’t as cookie-cutter as their reputation—the only equitable way to estimate time and cost is to look at your project and hear what you want done. Also, sometimes it’s hard to determine exactly what your manuscript needs before the editor reviews it and discusses the options with you. Here’s what Chicago 2.49 has to say about estimating time: “The amount of editing a manuscript needs depends not only on how it has been prepared but also on the audience for which the work is intended and the publication schedule. Estimating how long the editing will take, which requires looking at all parts of a manuscript and, often, editing a small sample, can be based on page count or on total number of words; in either case the editor should take into account any complexities in the text, documentation, or illustrations as well as the medium in which the editing will be done—on paper or in an electronic file. The nature of the material, along with the capabilities of the software and the editor’s own skills, will influence the choice of medium. Editing online, which often involves certain typesetting functions such as coding or tagging, may take longer than editing by hand, but production time may be shortened. Also pertinent is information about the author’s availability, amenability to being edited, propensity to revise, and so forth. As a very rough estimate, a 100,000-word book manuscript, edited online by an experienced editor, may take seventy-five to one hundred hours of work before being sent to the author, plus ten to twenty additional hours after the author’s review. (If an author has made substantial changes to the edited manuscript, as much as a week’s additional work may be needed.)” In other words: 75–100 hours, plus 10-20 hours (or more), might go into editing a 100,000-word (400-page) book. The maximum, then, might be some 150 hours, and the minimum about 85 hours. Q: Do you charge for manuscript review? A: Only if you hire me specifically to perform a manuscript review (usually accompanied by a written analysis). Reviewing your manuscript in order to come up with a cost/time estimate is free. Q: How can I be sure you won’t alter my manuscript in ways I don’t like? Can I disregard or undo your revisions to my electronic file? It sounds like a lot of work. A: You’re the author and you always maintain control of your manuscript. You can individually accept or reject each change, although “revisions” that correct indisputable errors should be retained. Every editorial addition or deletion will be redlined or struck out, every query carefully noted—all changes are marked for your review. Nothing will sneak into (or out of) your manuscript without your knowledge. That’s why Word’s Track Changes is such a useful tool. Check out your Word toolbar and give Track Changes a whirl to see what it can do. Just turn on Track Changes, start typing, then delete a few words and retype—and watch the redlines/strikeouts appear. I think it’s magical. As for being a lot of work, it’s easier than inputting handwritten changes and re-proofing the book. Q: How do I choose an editor? There are hundreds of freelance editors out there. A: Referral is the ideal way to find any professional, but if you don’t happen to know someone who’s had a book edited, where can you look? Start by searching the EFA’s member listings. You can also post your job request, for free, on the EFA Job List, which will produce a deluge of editors eager to help with your project. Once you’ve narrowed your search down to a couple candidates, my suggestion is to (a) request a sample edit, (b) ask for a cost/time estimate, (c) compare the responses, and then (d) go with your gut. I prefer to have at least one phone conversation before commencing a new project, and if you feel the same, make sure you talk to your potential editor. Of course, if you can find someone in your area and meet in person, so much the better. But many satisfying and long-term author-editor relationships blossom just fine via e-mail, Internet, and telephone. Q: What are your qualifications as a professional writer and editor? A: I have a BA in literature as well as a copyediting certificate, and I have worked on more than thirty book projects. Please see the Home page and my résumé for more information. Q: Where can I learn more about the craft of writing? Can I learn to edit my own work? A: See my Resources page, Web site section; the Writer’s Digest school and others are listed there. For a crash course in editing fiction, read Self-Editing for Fiction Writers (Renni Browne & Dave King). Other helpful books are listed in Resources. Q: How important is it for an editor to be familiar with the topic of my book? A: That depends on several factors. Who is the intended audience? If your book is aimed at a general readership, a copyeditor without particular subject matter knowledge might be better than a specialist, because the non-specialist editor can serve as your prototypical first reader. For more specialized audiences, an editor who is also a SME (subject matter expert) may be desirable but not mandatory. In many technical fields it would be difficult for a copyeditor without some familiarity with that field to edit a long manuscript, or even a shorter one. A good copyeditor will assess each manuscript and determine his or her suitability for the task. There are some subjects I wouldn’t tackle because my learning curve would be too great to do a competent job and do so in a timely manner. Q: What if I want you to edit a printout of my book instead of working onscreen? I only have a paper copy. A: If you don’t have an electronic version of your manuscript,
I can hand-mark your printout, but beware: (a) it’s messier; (b)
paper mail takes longer than e-mail; and (c) someone—probably you—will
have to input the corrections and revisions and then someone—possibly
me, for a price—will need to make sure they have all been input
correctly and no new errors have been introduced. Which means someone
will have to create an electronic version of your manuscript anyway,
so why not input it into Word before having it copyedited? If you don’t
want to type it yourself you can find someone to create an electronic
document by searching online for “data entry,” “word
processing,” or “secretarial” services. Even Kinko’s
can scan a typed manuscript for you and render it into a Word document.
In actuality, no one has asked me to edit on hard copy in years. Proofread,
yes. Edit, no. A: Yes, they should. If you have an agent or publisher already, I congratulate you. If you don’t…having your book professionally edited may well increase your chances of getting accepted by an agent, a publisher, or both. If you are a strong writer with impeccable self-editing skills, you can probably skip hiring the professional editor, especially if you’ve had your book critiqued in a writing group or workshop. Just make sure someone with a good eye for spotting typos proofs the final draft. On paper, not onscreen. See Resources for books to help hone your editing skills. Q: What is a style sheet? Why does my book need one? Do I have to do anything with it? A: A style sheet is a mini-style guide created just for your book. The style sheet contains a list of words specific to your book (proper nouns, character names, place names, jargon) and specifies how those words are treated (hyphenated or capitalized, etc.). If there’s more than one option (Web site or website? Email or e-mail?), the copyeditor chooses in accordance with Chicago or another style manual, the dictionary, or a publishing house’s style guide. When guidelines conflict, the copyeditor must resolve the conflict. Both Web site and website may be correct; the important thing is to maintain consistency within your book, so that you don’t have Web site on page twenty-seven and website on page 210. Creating a style sheet is an essential function of the copyediting process. The Chicago Manual of Style defines style sheets in section 2.54; The Copyeditor’s Handbook contains a lengthy discussion of purpose and function as well as the process of creating a style sheet. There’s more to a style sheet than a word list, though that is an important part of it. An exhaustive style sheet is a copyeditor’s best friend, and it will be used as a reference by proofreaders, typesetters, designers, and other individuals involved in your book project. The style sheet is usually for informational purposes as far as the author is concerned—and sometimes you may not even see it. Q: I’m going to self-publish. Some POD publishers offer editing services, and they seem to be pretty inexpensive. Why do freelance editors charge more than PODs? Don’t you all do the same thing? A: I’ve researched copyediting fees on POD Web sites and in The Fine Print of Self-Publishing, and most are lower than the lowest rates typically charged by freelancers (see EFA Rate Chart). One publisher charges $.01/word for copyediting/proofing (“We will have a professional brush up your manuscript”). At that rate, copyediting a 100,000-word book (400 pages) would cost $1,000. Sounds like a good deal for the author, but I am always cautious when something seems to cost less than it should. Per Chicago’s rough estimate, it could take 100 hours to copyedit a 400-page book, which means your editor would earn a whopping $10 an hour. Another example: a different POD includes light editing (with spell check!) in their basic publishing package—not to exceed two hours’ work. Can someone even read your manuscript in two hours? Other PODs offer “red-line editing.” Redline is a description of electronic markup, not a type of editing. Every copyeditor approaches the job individually, but certain best practices, procedures, and standards should be common to all. The ability to properly use references—to find out what should be done in a given situation, and why—is the backbone of this profession. We can’t memorize everything, but thankfully there is a plethora of solid reference books. Current editions of The Chicago Manual of Style, Merriam-Webster’s Collegiate or another collegiate dictionary, The Copyeditor’s Handbook, Garner’s Modern American Usage, the AP Stylebook if working with journalism copy, and a couple of good grammars should be the minimal load on any copyeditor’s bookshelf. The longer we work, the more books we collect (see Resources for some favorites of mine). I won’t say I know Chicago cover to cover, but I am very familiar with it and was tested on a majority of its sections during classes at UC San Diego. If you’re considering a copyeditor whose main style manual is the classic Strunk & White (Elements of Style, published 1918), you might want to reconsider. Before hiring any copyeditor, including one referred by or on staff with a POD, make sure you understand what is supposed to be accomplished during editing. Obtain an agreement specifying the functions that will be covered. Request a sample edit, preferably from a middle chapter or a section you’ve had trouble with; the sample should give you an accurate preview of what your edited manuscript will look like. If you have any doubts once you’ve signed up for the service, ask to see the first twenty or thirty pages of edited text, then the next twenty or thirty pages, and so on, so if the work isn’t satisfactory, you can stop. Then go to the EFA and find an experienced freelancer, who will, no doubt, charge more than the POD’s editing service. Q: I’ve started my book and am stuck. I don’t have an outline either. Can you help me move forward? What does that cost? A: This is definitely not a one-size-fits-all question. I would do nothing whatsoever without talking with you over the phone or in person, and then I would probably want to review your manuscript, too, before making any suggestions. No charge for this preliminary chat-and-review. If I can’t help you, I can give you some pointers on where to go next. See my Resources page for a list of books and other references to get you started. Q: How do you handle working with long-distance clients? A: Through the miracle of the Internet, I’ve worked with authors in Canada, North Carolina, and New York as well as closer to home in California. We communicate primarily via e-mail and send manuscripts as attachments. Track Changes in Word records every keystroke and all changes are easily visible, and equally easy for the author to accept or reject. I rarely edit on hard copy, and for proofreading will usually print out a manuscript at Kinko’s for review and markup. Snail-mail must suffice for exchanging proofreading work. A: For the right project, I would. 2001-2008, Catherine Viel, WriteCat Communications, Santa Barbara, CA, writecat@cox.net |