The reality is that copyediting comprises a very specific set of tasks done to a manuscript. When in doubt, start with Wikipedia:

The “five Cs” summarize the copy editor’s job: Make the copy clear, correct, concise, comprehensible, and consistent. Copy editors should Make it say what it means, and mean what it says.

Typically, copy editing involves correcting spelling, punctuation, grammar, terminology and jargon, timelines, and semantics; ensuring that the typescript adheres to the publisher’s style.

Copy editors also add any “display copy”, such as headlines and standardized headers, footers.

Copy editors are expected to ensure that the text flows, that it is sensible, fair, and accurate, and that any legal problems have been addressed. Some newspaper copy editors select stories from wire service copy.

Copy editors may shorten the text, to improve it or to fit length limits. This is particularly so in periodical publishing, where copy must be cut to fit the layout, and the text changed to ensure there are no “short lines.”

So a copyeditor begins with a stylesheet, either one used by the publisher or one that he or she creates. The stylesheet ensures consistency: one makes a decision about how to spell something, for example (as in copy editor or copyeditor!), or what one chooses to capitalize, etc.

Using this stylesheet, the copyeditor goes through the manuscript and makes sure that spelling, grammar, usage are all correct and that usage is consistent throughout. Copyediting may also include format editing—in other words, making sure that headers and subheaders are used correctly and consistently throughout the manuscript.

Copyeditors use terms that may sound like jargon to the uninitiated (as indeed does the language used in most specialized fields) but are helpful in deciding what changes to make and explaining why one is making them.

Want to learn more? Sign up for the copyediting elist published out of Indiana University and you’ll learn everything you ever wanted to know about dangling participles, poorly constucted sentences (and how to fix them!) and compound sentences. And then you’ll be … beyond the elements of style!

I can’t tell you how often I receive queries that say, “This only needs proofreading,” and yet clearly requires a heavy copyedit, or developmental editing, or character development, or even layout help. Sometimes it’s the person querying who isn’t aware of, shall we say, his or her own limitations. Often it’s just about not understanding the different processes that take place when a manuscript is moving toward publication. But, in any case, confusion often ensues.

Help is here! Today I’m starting a series that will look at what we mean by copyediting, line editing, layout, developmental editing, formatting, and the like. So mark these pages and check back and see whether your questions about process are answered. You’ll finally find out what you need! And then you’ll be … beyond the elements of style!

When it’s a book, the line is pretty clear: send out multiple query letters, but once someone has asked for the full proposal (um, you do have a full proposal, right?), then give that editor the courtesy of not sending it out all over the place. Tell the publication that it has three months to decide, after which you’ll feel free to submit the proposal elsewhere. That’s pretty simple.

The complications come in when you’re talking about sending out articles, short stories, op-ed pieces, and so on.

Frankly, sending your work to multiple publications is absolutely fair and reasonable. Editors receive an incredible volume of submissions, do what they do more for love than money, and are absolutely unable to respond at the speed of light. That shouldn’t keep you from carrying on with your agenda.

Common courtesy applies. If your work is accepted somewhere, immediately notify the other publications with a simple note saying, “Please withdraw my story entitled ______. I apologize for any inconvenience.”

Do you tell them? That’s another gray area. Personally, I never mention that I’m sending multiple submissions; if something is accepted, I follow the procedure outlined above. Chances are, with the few slots available and the thousands of submissions the journal receives, it’s not as if there were going to be a bidding war on my bit of flash fiction!

The bottom line? Follow the golden rule, in this and all things, and you’ll be … beyond the elements of style!

Second truth: everyone needs to be edited. Everyone. Every writer has idiosyncracies at best and errors at worst, and there is no way that the writer can be aware of them all. The fact is that one editor probably won’t be aware of them all, either, but he or she has a lot better chance of it than does the writer.

So where does that leave you?

You’ve written your book. You’re about to embark on a search for an agent or publisher. You decide that the first thing to do is to get it — your masterpiece, that is — professionally edited. Right?

Wrong.

I’m not saying that your book doesn’t need editing; au contraire, I’m quite willing to bet that it needs a lot of editing. But that same amount of editing is also going to be very expensive, and it may not be the best use of your funds at this time.

Instead, consider this: what you really want to do is capture the attention and interest of a literary agent or of a publisher. That’s your real goal here, not having a picture-perfect manuscript.

What will you be sending out in your quest for arousing that interest? Certainly not the entire manuscript! Instead, you’ll be sending out a proposal, which will include — at most — three chapters of the manuscript. It will also include other essentials, such as a synopsis, an analysis of competing books already in the marketplace, a statement of your platform, an outline, and other components.

You’re starting to get the idea: I can tell. Your first order of business is to make this proposal the best proposal it can possibly be. So by all means have it edited — and have those first three chapters edited, also — and hold off on the whole manuscript until someone has asked you to send it to them.

You can have someone write the proposal — it’s one of the things that I do for clients — but that’s relatively expensive. Consider writing your own and then sending it to a top-notch editor. You’ll pay up to a couple thousand dollars, but you won’t be in for too much; and if no one asks for it (perish the thought!), you’ll still be able to pay next month’s rent!

And then you’ll be … beyond the elements of style!

The truth is, my mind is filled with swirling colors and haunting music. I’m in Philadelphia this weekend at FaerieCon, a gathering for all things and beings magical, mystical, and downright strange. There are Good Fairies and Bad Fairies (you can probably guess which I find more interesting), Green Men and satyrs, even a dragon or two … and it’s all fabulous good fun.

Saturday morning I sat and listened to a lecture by Tolkien illustrator Ted Nasmith, and afterward my stepdaughter Anastasia brought up what she calls Tolkien’s ability to multitask, writing and lecturing and, in the midst of it all, managing to create several complete languages.

And they are extraordinary. A list barely scratches the surface of the riches and complexeties of languages invented for a race that exists only in one’s mind, yet whose history, sociology, and psychology are so clearly understood and articulated that, to many and for all these years after his death, they seem real. It’s not just a gift, though I’ll never argue that Tolkien wasn’t gifted; it’s also an enormous undertaking that could only be done from some sort of passion in the soul.

And for those of you who look to this column for practical advice, I had a nice long talk with Kerry Estevez, the editor over at Medallion Press, who noted that many, many more books would be accepted if writers (and, for that matter, literary agents) would just read the submission guidelines and follow them. Doesn’t sound that difficult, folks. She’s currently looking for historical fiction/fantasy, and if there’s some romance woven in, so much the better!

So pay attention to guidelines for the good of your publications list, and pay attention to the fairies for the good of your heart. And you’ll be … beyond the elements of style!

So what do they want?

First off is, alas, nothing to do with the work itself; it’s audience demand. Is there an audience demand for this book? If not, it’s over before it’s even begun.

Second is still not about the book itself, it’s author platform and marketing. Will you be able — and willing — to promote this book? How? Do you have a specific plan? What is it?

Third is — finally — about the book itself. How does it differ from other, possibly similar, works? Can it stand apart … and stand alone?

Fourth is cost. Publishers are far more willing to take a risk on a book that costs less to produce. What this generally translates into is word count: long books had better be extraordinary and a sure thing.

Fifth: timing. This can move up to number one if the issue the book deals with is in the news and likely to stay there for the time it will take to bring the book to market.

Sixth and final is whether or not the manuscript will fit this particular publisher’s list. “Sorry, it doesn’t meet our current needs” can, unfortunately, mean just that.

So there you go. Bear these points in mind as you prepare your next book proposal and you’ll be beyond the elements of style!

The answer is, yes. You have a chance. But you need to play by their rules in order to get there.

The first thing that agents, editors, and publishers are looking for, before any other consideration, is marketing. They want an author who can promote his or her book. Wait a minute — isn’t that like putting the cart in front of the horse? Shouldn’t the book, first and foremost, be brilliant and original before worrying about marketing?

You’d think so. But that would mean that you’re not playing by the rules. And the first rule in publishing is Market Thyself.

Like it or not, a sale is much more likely if you are an expert writing about your subject of expertise, whether in fiction or nonfiction. Look at all of the novels about forensics experts written by forensics experts, the novels about lawyers written by lawyers. Editors and publishers want to know that you know what you’re talking about. If you’re an expert, then they assume you do, and can promote you that way. If you’re not an expert, think about taking one on as co-author.

And that is just the beginning. You need to make it clear from the start that you will do what it takes to advertise your book. That you’re ready and willing to construct and maintain a Web site, that you’re ready for book tours, that you’ll break down doors to get reviews and interviews. Show yourself to be creative, energetic, and perseverant, and you’ve come a long way toward winning your editor’s heart.

The second thing that you need to project is professionalism. Take the time to learn what is expected of you, and do it. If the publication wants submissions between October and June only, submit between October and June only. Show in your query letters that you are not broadcasting them randomly (even if you are) but know something about the publishing house to which you’re addressing yourself.

Don’t call the editor unless she or he invites you to do so. Don’t ever send anything that is hand-written. Don’t ever mention that your mother likes your work.

If you want to be treated as a professional, act like one!

Finally, be able to encapsulate your concept or idea in as few words as possible. If you can’t articulate it, no one will buy it. Try what is called an “elevator conversation” — describe your book in the time it would take you to tell someone about it on an elevator. Can’t do it? Then you’re not ready to try and get a publisher’s attention.

If you don’t know what you’re doing, it will show. This is your job now, treat it the same way you’d treat any new job: by playing by the rules, being flexible and professional, and by using every opportunity to press your concept home.

It can be done, but not unless you’re willing to do your homework — first! And then you’ll be … beyond the elements of style!

Jeannette Cézanne
Customline Wordware, Inc.

Yesterday’s Washington Post (http://tinyurl.com/y62s8j) carried an article about grammar coming back into style. The teacher profiled isn’t unique (and thank goodness for that – perhaps a new trend is starting!); and the article itself is full of generalizations and oversimplifications; but it’s a trend worth noting and applauding. Anything emphasizing the value of learning correct grammar, usage, and so on can only be… beyond the elements of style!

It’s been an insanely busy week here at Customline Wordware, and I’ve found my brain working more slowly than usual. At times like this, one really appreciates one’s friends and colleagues.

So I’ll talk about two of them. Those of you who listen to my radio show, The World of Publishing, have already met both these people: Susanna J. Sturgis and Dick Margulis.

Susanna J. Sturgis (Susanna’s Web site) is a brilliant writer and editor, who has opened my mind to literature I would not have explored on my own and has herself pushed the envelope in helping establish a feminist presence within the science fiction genre and community. She listens to my often-snide comments and puts them in context, and has been willing to share a lot of her own hard-earned wisdom and techniques with me. She’s turned me on to music I’d never heard before and her blog (Susanna’s Bloggery) is filled with thoughts I wish I’d had. (Read her words. Often.) And when my world is particularly crazy, she always provides a dose of sanity and calm.

Dick Margulis (Dick’s Web site) has intimidated me for as long as I’ve known him. This man is just too perfect. He’s an editor’s editor; he guides his clients with caring and aplomb through the maze of self-publishing; he always has time to answer even the most inane of questions – while making one feel that they weren’t all that inane, after all. I check his blog (Words/Myth/Ampers & Virgule) regularly for updates on language and publishing (and so should you), and he’s the first person I think of when I have a phrase to untangle or an elusive term to track down. When a plea for help is thrown out in an editors’ forum, I think, “I’ll answer that when I have time, not right now.” Dick thinks, “I’ll answer that right now.” And his answers are invariably thoughtful and complete.

I’m immensely grateful that these two people are in my world. Take a moment and visit their Web sites and blogs. You may find that one of them is just the right fit for your next project.

They are most definitely… beyond the elements of style!

On the other hand, authors generally don’t understand the combination of expertise, time, effort, and scheduling it takes for an editor to work on their manuscripts. I am reminded of the air conditioning technician who came to repair a unit and, locating the special place to aim, kicked it smartly, causing it to start up again. The homeowner was astonished when presented with a bill for two thousand dollars. “But all you did was kick it!”

“That’s right,” rejoined the technician. “But it’s knowing just where to kick — that’s why you called me.”

Editing is a little like that. Anyone can rephrase words on a page; but it’s knowing which ones to change, and why; it’s having knowledge about different style guides, technical issues, domain information, the world of publishing in general, and — well, it’s about knowing just where to kick.

So there are some good reasons for the cost of editing. Add to that the understanding that freelance editors pay for everything out of their income — taxes, rent, equipment, professional memberships — as well as the reality that some manuscripts do in fact require a great deal of work, and you’ll start to have a sense of what goes into the cost of editing.

Weigh that against the advantages of having your manuscript edited, and you’ll realize that in the long run, it’s well worth the cost. You’ll never have a second chance to make a first impression, and the same is true for your writing.

And then you’ll be… beyond the elements of style!