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This volume adds a new dimension to authorship studies by linking the editorial tradition to the transformative reception of early modern authors and their works across time. Aleida Auld argues that the editorial tradition provides privileged access to the reception of early modern literature, informing our understanding of certain reconfigurations and sometimes helping to produce them between their time and our own. At stake are reconfigurations of oeuvre and authorship, the relationship between the author and work, the relationship between authors, and the author's own role in establishing an editorial tradition. Ultimately, this study recognizes that the editorial tradition is a stabilizing force while asserting that it may also be a source of strange and provocative reconceptions of early modern authors and their works in the present day. Scholars and students of early modern literature will benefit from this approach to editing as a form of reception that encompasses all the editorial decisions that are necessary to ‘put forth'a text.

This book explores proofreading and editing from a variety of research and practitioner-led perspectives to describe, debate, and interrogate roles and policies within the student and research publication context.Chapters feature a wide range of empirical research findings gathered from an internationally diverse set of experts in the field from Australia, Canada, Finland, Hong Kong, the UK, and the USA. The book progresses debates surrounding the legitimacy and necessity of copyeditors and proofreaders, drawing upon a range of theory and practice. Contributing to further research and dialogue in the area, the book addresses the ethicality and educative benefits of proofreading from various perspectives.Ultimately, the book offers vital discussions about the ethics and boundaries of proofreading and editing with experts sharing their experiences and recommendations for next steps. This book will be of relevance to postgraduate students, researchers and academics in the fields of literary studies, higher education, language arts, and applied linguistics. Teaching and learning professionals, policymakers, proofreaders, and editors can also benefit from the volume.

Find creative inspiration in this fascinating rummage through the wastebaskets, secret diaries, and abandoned files of 20 literary superstars.If you like to write—whether it's a pastime, a passion, or a profession—you've probably found yourself reading something brilliant and thinking, “I could never do this! I might as well give up.” But if there's one thing every great author has in common, it's this: they've all written some hot garbage. In Revisionaries, a writing expert takes you on an engrossing tour through the discarded drafts, false starts, and abandoned projects of influential writers. In the process, he dismantles some of our most deeply held—and most suffocating—ideas about what it takes to produce great creative work. You'll learn that: Franz Kafka lacked confidenceOctavia Butler had writer's block F. Scott Fitzgerald wrote bad draftsRalph Ellison got overwhelmedLouisa May Alcott got off to a bad startAnd more deep, dark secrets about the authors you most admireWritten by an award-winning novelist and creative-writing professor, Revisionaries is a compelling peek behind the scenes of genius for writers and readers alike.

Revision sometimes seems more metaphor than real, having been variously described as a stage, an act of goal setting, a method of correction, a process of discovery, a form of resistance. Revising Moves makes a significant contribution to writing theory by collecting stories of revision that honor revision's vitality and immerse readers in rooms, life circumstances, and scenes where revision comes to life. In these narrative-driven essays written by a wide range of writing professionals, Revising Moves describes revision as a messy, generative, and often collaborative act. These meditations reveal how revision is both a micro practice tracked by textual change and a macro phenomenon rooted in family life, institutional culture, identity commitments, and political and social upheaval. Contributors depict revision as a holistic undertaking and a radically contextualized, distributed practice that showcases its relationality to everything else. Authors share their revision processes when creating scholarly works, institutional and self-promoting documents, and creative projects. Through narrative the volume opens a window to what is often unseen in a finished text: months or years of work, life events that disrupt or alter writing plans, multiple draft changes, questions about writerly identity and positionality, layers of (sometimes contradictory) feedback, and much more.

Making extensive use of unique archival resources this collection presents, for the first time, an in-depth study of the work and influence of Wittgenstein's original literary heirs, Rush Rhees, Elizabeth Anscombe and Georg Henrik von Wright as editors of Wittgenstein's posthumous writings. Presenting philosophical portraits of Rhees, Anscombe and von Wright, a team of international contributors provide a history of their collaboration and discuss how the individual philosophical views of the literary heirs shaped what we now know as the works of Wittgenstein. They consider the link between philosophically relevant aspects of their biography, their friendship with Wittgenstein and the development of their philosophical personalities, offering us a new appreciation of the dynamics of their editorial collaboration and how each of the heirs worked individually as an editor to create Wittgenstein's philosophy. Each chapter reveals what the editors did to enrich and shape our understanding of Wittgenstein's philosophical contribution on topics such as rule-following, logical necessity, aesthetics and the methods and aims of philosophy. This thorough critical analysis of the editorial history of Wittgenstein's works allows us to finally appreciate the profound impact the editors have had on our understanding of his philosophy, his views and his cultural significance.

This book brings attention to the communicative process of editing as a dialogic experience that is attentive to the voice of the Other and underlines an ethical turn for the editing process.The volume focuses on an essential, yet undertheorized, aspect of the communicative practice of editing by reading and receiving the voice of the Other and offering feedback toward assisting the text to find a voice without turning it into the voice of the editor. Utilizing the theoretical and philosophical frameworks of a diverse group of leading scholars and philosophers, contributors to this volume explore the editing process as connected to communication ethics that calls for discernment of what matters.With its philosophical underpinnings, this book will especially be of interest to researchers and students in multiple disciplines in humanities and the social sciences, including communication studies, dialogue studies, philosophy, literature, composition studies, education, history, anthropology, psychology, sociology, religious studies, and political science.

A field guide to the trade and art of editing, this book pulls back the curtain on the day-to-day responsibilities of a literary magazine editor in their role, and to the specific skills necessary to read, mark-up and transform a piece of writing. Combining a break-down of an editor's tasks – including creating a vision, acquisitions, responding to submissions and corresponding with authors – with a behind-the-scenes look at manuscripts in progress, the book rounds up with a test editing section that teaches, by way of engaging exercises, the nitty-gritty strategies and techniques for working on all kinds of texts. Generous in its insight and access to practicing editors'annotations and thought processes, The Invisible Art of Literary Editing offers an exclusive look at nonfiction, fiction and poetry manuscripts as they were first submitted, as they were marked up by an editor and how the final piece was presented before featuring an interview with the editor on the choices they made about that piece of work, as well as their philosophies and working practices in their job. As a skill and a trade learnt through practice and apprenticeship, this is the ultimate companion to editing any piece of work, offering opportunities for learning-by-doing through exercises, reflections and cases studies, and inviting readers to embody the role of an editor to improve their craft and demystify the processes involved in this exciting and highly coveted profession.

A book-world veteran offers the first copyediting guide focused exclusively on fiction. 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.

Lektorin oder Lektor ist kein Lehrberuf, und doch sind Qualitätsstandards in diesem Arbeitsfeld essenziell. Für Qualität und Fortbildung rund um redigierte Texte steht seit dem Jahr 2000 der Verband der Freien Lektorinnen und Lektoren (VFLL), der heute über 1.200 Mitglieder aufweist. Und damit einen Brainpool an Expertinnen und Experten, deren gesammeltes Wissen sich in diesem Buch findet. Von der Auftragsakquise über Versicherungen bis hin zum Zahlungseingang wirft der Leitfaden einen Rundumblick auf die Anforderungen der Freiberuflichkeit, beleuchtet den Wandel in der Medienbranche und zeigt neue Wege und Arbeitsfelder auf. Änderungen gegenüber der Vorgängerauflage ergeben sich nicht nur aufgrund neuer technischer Entwicklungen, z.B. die der künstlichen Intelligenz (KI), sondern resultieren auch aus dem gesellschaftlichen Wandel, der sich sprachlich niederschlägt. Nicht jeder der namentlich gekennzeichneten Artikel entspricht dabei der Verbandsmeinung – kein Wunder bei Themen wie ›Honorare‹, ›KI im Lektorat‹ und ›Gendern‹. Die Beiträge, Erfahrungsberichte und Praxistipps der rund 85 Autorinnen und Autoren spiegeln die Vielfältigkeit und Diversität innerhalb des VFLL. Mit dieser neu bearbeiteten und erweiterten Auflage möchte der Verband den lebendigen Dialog – auch mit künftigen Mitgliedern – fortzusetzen: in einem lebendigen Netzwerk unter www.vfll.de oder in den über ganz Deutschland verteilten Regionalgruppen des Verbands.

Haben die germanischen Götter die Poesie und das Recht erfunden? Kann man einen Text rekonstruieren wie eine Tat? Sind Juristen oder Philologen die besseren Leser? Ist der Wissenschaftler so genial wie der Dichter? ‒ Vor rund 400 Jahren befasste sich eine gelehrte Denkgemeinschaft mit deutschen Texten aus Literatur und Recht. Vor fast 300 Jahren wurden die Spezialisten des deutschen Rechts „Germanisten“ genannt und bald auch die Experten deutscher Literatur. Claudia Liebs Analyse der gemeinsamen Vorgeschichte von Literatur- und Rechtswissenschaft beschreibt erstmals die historischen Verflechtungen von philologischer und juristischer Germanistik.

Until now there has been little consideration of the intellectual and historical impact editors have had on the young and ever-evolving field of writing studies. Behind the Curtain of Scholarly Publishing provides new and seasoned scholars with behind-the-scenes explorations and expositions of the history of scholarly editing and the role of the scholarly editor from the perspectives of current and former editors from important publications within the field. Each chapter in the collection examines the unique experiences and individual contributions of its authors during their time as editors, offering advice to scholars and potential editors on how to navigate the publication process and understand editorial roles. The contributors provide multiple perspectives on the growth, transformation, and, in some cases, founding of some of the most influential publishing venues in writing studies. The personal and historical narratives, along with the unique perspectives and insightful analyses of the individual authors in Behind the Curtain of Scholarly Publishing, offer needed transparency and context to what has historically been an opaque, yet inevitable and consequential, part of academic life. This volume will help researchers in the field understand the publishing process. Contributors: Cheryl Ball, David Bartholomae, Charles Bazerman, Jean Ferguson Carr, Douglas Eyman, Muriel Harris, Byron Hawk, Alice Horning, Paul Kei Matsuda, Laura Micciche, Mike Palmquist, Michael Pemberton, Malea Powell, Kelly Ritter, Victor Villanueva, Victor Vitanza, Kathleen Blake Yancey

The Frugal Editor: Do-it-Yourself Editing Secrets From your query letter to final manuscript to the marketing of your book Whether you are a new or experienced author, The Frugal Editor helps you present whistle-clean copy from a one-page cover letter to your entire manuscript that will convince those with the power to say'yea'or'nay'to your precious book. The third edition of The Frugal Editor, is the winningest book in Carolyn's multi-award-winning HowToDoItFrugally Series of Books for writers with accolades from Reader Views Literary Award, Dan Poynter's Global Ebook Award, the coveted Irwin Award, and many others. This fully updated edition includes the new help you need from managing gender pronouns to maximizing the usefulness of front and back matter. Altogether, The Frugal Editor now provides 50% more information designed for the success of your title.'Writers and editors have a true friend in Carolyn Howard-Johnson. Her word smarts, her publishing savvy, and her sincere commitment to authors and editors make The Frugal Editor a must-have resource.'-- June Casagrande, author of The Best Punctuation Book, Period and Grammar Snobs Are Great Big Meanies (Penguin) and syndicated grammar columnist'Previous editions of The Frugal Editor were excellent. Nothing could be better... except this book which has an additional 50% new content. The publishing world changes quickly, and this text allows writers to keep up with the ever-changing world of editors, publicists, finicky agents, trends, cultural expectations, queries, and media kits... exploding grammar myths, and possible scams. Save yourself time and money by learning from the best, Howard-Johnson. -- Carolyn Wilhelm, BA, MA, MS and author of environmental content'Carolyn Howard-Johnson is a godsend for writers everywhere. Her new book The Frugal Editor, is part reference guide, part do-it-yourself editing manual, part masterclass on the writing and publishing industry... and all with Carolyn's signature humor and encouraging energy! She is a master at simplifying overwhelming tasks into relevant, can-do information. This book is a must for every writer's bookshelf!'--Dallas Woodburn, book coach and best-selling author of Thanks, Cariss, for Ruining my Life'I am using The Frugal Editor to polish my next book. I've used it for the first edit, the beta edit, and...I'm ready to snuff out excess words. Your tip about adding spaces with the search and replace tool is a timely add to my editing skills. It was easy to weed out abbreviations like AR for Arkansas one of my clients used with the (space)AR(space) feature.'--Elizabeth Seckman, editor of Insecure Writers Group newsletter'In the third edition of her The Frugal Editor, Carolyn Howard-Johnson helps authors obtain a finished product worthy of Simon and Shuster. The book guides readers through evolving changes in the English language that has no governing academy regulating it.'--Helen Dunn Frame shares her secrets for Retiring in Costa Rica or Doctors, Dogs and Pura Vida and other books.'Whether you're writing your first book or tenth, The Frugal Editor is a must-read.'--Tim Bete, director, Erma Bombeck Writers'Workshop'Carolyn Howard-Johnson's The Frugal Editor has been my go-to editing bible for many years. The new Third Edition is the best yet with all the clear, easy-to-follow advice on how to edit your work like a pro of the earlier editions and a whole new range of up-to-the-minute advice about such things as using gender pronouns correctly, well-researched insider info on how to avoid agents'and publishers'pet peeves, how to avoid scams, and lots more. This is a must for every author's editing arsenal.'--Magdalena Ball, CompulsiveReader Learn more at https://howtodoitfrugally.com

Get the Summary of Peter Ho Davies'The Art of Revision in 20 minutes. Please note: This is a summary & not the original book.Original book introduction: In The Art of Revision: The Last Word, Peter Ho Davies takes up an often discussed yet frequently misunderstood subject. He begins by addressing the invisibility of revision—even though it's an essential part of the writing process, readers typically only see a final draft, leaving the practice shrouded in mystery. To combat this, Davies pulls examples from his novels The Welsh Girl and The Fortunes, as well as from the work of other writers, including Flannery O'Connor, Carmen Machado, and Raymond Carver, shedding light on this slippery subject.