The most enjoyable part of this job is, I think, working directly on the text. There is nothing more satisfying than a well-written sentence or a manuscript that is simply coherent from start to finish, and the greater input that is required to achieve this, the greater the satisfaction. This is not to say that we encourage the delivery of badly written books, but as the process of editing is a genuinely enjoyable and absorbing activity, I don’t complain if rewrites are needed (well, not usually…).

Conducting research for books like the forthcoming Charity Shopping on Thrift Street is a perk (I cannot walk past a charity shop without checking for shoes and instruments). Sending emails back and forth to Turkish translators, for example, to preserve the meaning of a line in Swords of Ice by Latife Tekin whilst also capturing the poetry, can entail some passionate exchanges. We have even spent some time here writing rhymes for children’s books; the work is certainly varied. But what exactly does the standard ‘editorial process’ involve? This is something we are often asked about.

 When first time authors sign-up here, their foremost concern is often: ‘So what happens now?’ When we ask them to deliver two or three chapters within a specified time – say three months – if they are on time (and it is rare), their secondary concern is: ‘So do I get a chance to change things?’ People worry about their spelling and punctuation. People worry about last minute additions or things they may have left out. No need. The fact is that from the moment a manuscript is ‘delivered’ we revise it once, twice and often many more times before publication, so there are opportunities for alterations many steps along the way. All proof-reading is taken care of in-house, shortly before we send a job to print, so the author shouldn’t worry about that side of things (though any extra pair of eyes on a set of proofs is welcome always welcome*). 

Usually, when a manuscript is sent to us via email, we use the track changes function in word to make alterations and send a copy-edited version back to the author with all changes visible in red. They will then approve or dispute our suggestions, and return this document for a second round of revisions. This process continues until both parties are happy with the finished product. At this point we typeset the document in-house, again taking turns (according to who has the time or inclination) to produce a set of proofs – this is the stage at which the text begins to look like a book.  

It is only when we have a print out of the typeset proofs that we will proofread. Otherwise mistakes are made. Authors are give the chance to look over the  almost finished product, under the proviso that further changes at this stage must be kept to an absolute minimum. And that’s it. C’est tout. The file is set to print and a shiny (or matt) new book arrives with us shortly afterwards. The editorial process is not complicated. As long as the lines of communication between ourselves and the author of the text are kept open at all stages then co-operation can be fruitful and valid changes are incorporated. 

Just so long as the editor remembers not to get too attached to books they have been working on and begin to want changes for themselves rather than for the good of the book/author/market… Note to self: ‘With forthcoming title on music venues I must not spend hours weaving in interviews with bands I like just because I want to write about them’. The idea is to strike the right balance... 

* just testing your proof-reading skills there!