Book review: But Can I Start a Sentence with “But”?

July 20, 2016

Editors are necessarily a fussy lot. We hunt typos, errant commas, and assorted orthographical aberrations and inconsistencies with the industry and pleasure of a bumblebee in a high-summer meadow. And if we’re any good at it, we consult authorities – often. Because we know (oh, how we know) what assumption is the mother of.

For academic writers and editors, the Chicago Manual of Style (CMOS) is one of the biggest and best authorities, especially for US English. Even here in Ireland, I check CMOS often and with great regard. (After years of frequent use, editors become intimately familiar with style guides: our feelings for them are not always friendly.)

The team behind CMOS run a monthly Q&A for subs, proofreaders, writers and the stylistically uncertain. Many queries can be resolved by reference to the relevant section in CMOS, though at 1026 pages it can take some digging, while others are more esoteric puzzles that offer no obvious solution. The editors’ answers are clear and helpful, as you’d expect, but they’re also sometimes… sassy. Snarky, even.

And now there’s a book, But Can I Start a Sentence with “But”?, a selection from the Q&A. (Its publishers, University of Chicago Press, kindly sent me a complimentary copy.) The foreword is by Carol Fisher Saller, who is responsible for many of the As in the Q&A and whose book The Subversive Copy Editor, 2nd edition, I reviewed recently.

but can i start a sentence with but - chicago style q&a book coverSaller and her colleagues are a fount of level-headed sense, and it’s manifest throughout this short book. On the very first page we read: ‘In style matters, there are often competing options, all acceptable.’ This, as you may imagine, is music to my ears. Page 2: ‘When consistency gets silly, you can rebel.’

These are solid maxims of the editing trade, yet they are unknown to some professionals who assume there is always a Right Way and who sacrifice sense and compromise clarity to avoid deviating from a rule, however trivial. So it’s reassuring and constructive to see editorial flexibility upheld and indeed stressed by so august an arbiter.

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Book review: The Subversive Copy Editor, by Carol Fisher Saller

June 28, 2016

One of the books I found most helpful when I began freelance editing was Carol Fisher Saller’s The Subversive Copy Editor. Unlike style guides and other trade references that editors consult more or less daily, Saller’s book focuses not so much on how to copyedit as on ‘how to survive while doing it’.

I’m happy to report that The Subversive Copy Editor was recently published in a second edition. Two chapters longer and noticeably heftier, it still falls well under 200 pages: you’d zip through it in a day or two. It’s full of solid advice on such aspects of the job as managing deadlines, handling pressure and difficult clients, improving your computer use (e.g., filing, word processing), and email etiquette.

It also offers clear and practical guidance on the nuts and bolts of editing. For example, it explains the benefit of reviewing your queries to an author before you return their text:

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‘The’ way to emphasise a word

June 14, 2016

Quotation marks for ‘emphasis’ are common in unedited writing but rare in formal prose, where italics are the usual approach. Bold and underlines are occasionally used; ditto *asterisks* and _underscores_. ALL CAPS and Initial Caps are sometimes favoured but can suggest shouting, humour, or a headline effect, so they’re more suited to informal contexts: both are popular on social media, for example.

There’s an anomalous example in a book I just read, Rough Ride: Behind the Wheel with a Pro Cyclist, an engrossing memoir/exposé by Paul Kimmage (Yellow Jersey Press, revised edition, 2007). It occurs about halfway in; Kimmage is describing the effect of Stephen Roche winning the Tour de France:

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James Thurber explains the New Yorker comma

May 17, 2016

James Thurber’s book The Years with Ross (1959), which recounts the early years of the New Yorker under Harold Ross’s stewardship, has much to recommend it. Thurber fans are likely to have read it already but will not object to revisiting a short passage or two, while those yet to be acquainted may be encouraged to seek it out.

james thurber - the years with ross - new yorkerRecalling dinner one spring evening in 1948, Thurber describes being mostly a spectator while Ross and H. L. Mencken hold court:

The long newspaper experience of the two men, certain of their likes and dislikes, and their high and separate talents as editors formed basis enough for an evening of conversation. They were both great talkers and good listeners, and each wore his best evening vehemence, ornamented with confident conclusions, large generalizations, and dark-blue emphases. . . .

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Passive voice peeving and ignorance

May 13, 2016

Despite all the solid, readily available information on the passive voice, there remains a great deal of misinformation and confusion about it. This confusion, far from being limited to non-specialists, pervades professional circles too – journalists, for example, but also journalism professors and authors of writing manuals.

A case in point is Essential English: For Journalists, Editors and Writers by Sir Harold Evans. First published as Newsman’s English in 1972, book one of a five-volume manual of newspaper writing and design, it was fully revised by Crawford Gillan and published by Pimlico in 2000, also incorporating book three, News Headlines (1974).

Essential English first wades into the passive-voice swamp in Chapter 2, in a section titled ‘Be Active’:

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Catch of the day: ‘Sea Gastronomy’ by Michael O’Meara

December 7, 2015

A few years ago I edited a master’s thesis for Michael O’Meara, a Galway-based chef and photographer. Michael owns Oscars Seafood Bistro, which he runs with his wife Sinéad and a talented team. His thesis won an award for academic excellence, and he was pleased enough with my editing and proofreading that he sent me a testimonial and said he’d be in touch again when he wrote a book.

Michael was true to his word. After much research and compilation of material he put together a manuscript, and with the tireless help of the wonderful Connemara publishers Artisan House the results of these efforts are now complete. Sea Gastronomy: Fish & Shellfish of the North Atlantic is a prodigious achievement, with 440 pages of recipes, zoological notes, and more, covering 120-odd species (some of them very odd) from the bountiful seas around Ireland.

Sea Gastronomy by Michael O'Meara, Artisan House - two editions

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Reconciling descriptivism with editing

November 10, 2015

A very long time ago (in internet terms, that is – 2010), I wrote a post about the difference between prescriptivism and descriptivism, a sometimes false dichotomy that nonetheless can serve as a basic model of two broad approaches to language use. Put simply:

Descriptivists describe how language is used (and they may infer rules from that data).

Prescriptivists prescribe how language should be used (and they may enforce rules based on authority, tradition, house style, logic, personal preference, etc.).

Despite what you’ll sometimes hear about the ‘usage wars’, it’s not a black and white scenario: the sides overlap. I’m descriptivist in principle, but as an editor–proofreader by trade I wear a prescriptive hat, ensuring that clients’ prose is consistently styled and accords with the current norms of standard English or whatever register is desired in a given context.

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