Editors are your readers’ first advocate. We are the mast to which your content is leashed so that it may fare well in the wilderness. The copy editor’s hat is just one of many that we wear beneath the beating sun of commissioning, project management, design and production.
Commissioning and managing content
We tend your content landscape and plant new seeds to grow.
The copy editor is often a text’s first true reader, stepping back from the creative process with a critical eye and a red pen. It is the copy editor’s task to distill the written word, so that what is left may be siphoned off pure by the reader.
We change what must be changed, but always know the line at which we must stop; that invisibe boundary between source, writer and copyeditor is a natural law that allows words to successfully flourish.
The copy editor distills the written word, so that what is left may be siphoned off pure by the reader.
Sub-editing and production editing
Production editing is a sort of borderlands; the no-fly zone between design, production and editorial. Production and sub-editors write the headlines, own the text layout, master the schedule and tweak the words and the design until they have a tight and elegant fit. We are the textural designers and aesthetic gatekeepers of a publication. The skill is to present the information in such a coherent and enticing manner that it appears effortless. If our hard work is concealed, then our job is done.
Production editors are the guardians of the schedule and the eye upon the clock; greasing the wheels and cogs that make a publication come out reliably on time. InDesign, Quark Express, HTML and Content Management Systems may be our core tools, but the production editor is a strange beast, lost somewhere inbetween a text fanatic and design dillitante, so a host of more complex publishing tools fall within our vernacular.
The skill is to present the information in such a coherent and enticing manner that it appears effortless.
Yes, it’s true, clownfish really are transsexuals, but if we didn’t have fact-checkers, we could never be completely sure.
There is a strange hieroglyphic in the scrawl of a proofreader’s marks. Every traditional publisher has its own peculiar markings, its Coptic fusion, although there are some native tendencies common to all. In bright red shorthand or the swift tap of a key, we communicate all that remains wrong in a text, and diligently plug the corrections back in.