The Editor

From the bestselling author of Lily and the Octopus comes a novel about a struggling writer who gets his big break, with a little help from the most famous woman in America. After years of trying to make it as a writer in 1990s New York City, James Smale finally sells his novel to an editor at a major publishing house: none other than Jacqueline Kennedy Onassis. Jackie--or Mrs. Onassis, as she's known in the office--has fallen in love with James's candidly autobiographical novel, one that exposes his own dysfunctional family. But when the book's forthcoming publication threatens to unravel already fragile relationships, both within his family and with his partner, James finds that he can't bring himself to finish the manuscript. Jackie and James develop an unexpected friendship, and she pushes him to write an authentic ending, encouraging him to head home to confront the truth about his relationship with his mother. Then a long-held family secret is revealed, and he realizes his editor may have had a larger plan that goes beyond the page... From the bestselling author of Lily and the Octopus comes a funny, poignant, and highly original novel about an author whose relationship with his very famous book editor will change him forever--both as a writer and a son.

Excel at editing! The editor's job encompasses much more than correcting commas and catching typos. Your chief mission is to help writers communicate effectively--which is no small feat. Whether you edit books, magazines, newspapers, or online publications, your ability to develop clear, concise, and focused writing is the key to your success. The Editor's Companion is an invaluable guide to honing your editing skills. You'll learn about editing for: • CONTENT: Analyze and develop writing that is appealing and appropriate for the intended audience. • FOCUS: Ensure strong beginnings and satisfying endings, and stick with one subject at a time. • PRECISE LANGUAGE: Choose the right words, the right voice, and the right tense for every piece. • GRAMMAR: Recognize common mistakes in punctuation, parts of speech, and sentence structure--and learn how to avoid them. You'll also find valuable editing resources and checklists, advice on editorial relationships and workflow, and real-life samples of editing with explanations of what was changed and why. The Editor's Companion provides the tools you need to pursue high quality in editing, writing, and publishing--every piece, every time.

Veteran editor Don McNair lays out an easy-to-follow and systematic method for clearing up foggy writing--writing that's full of extra, misused, and overused words--in this guide to producing sparkling copy that attracts readers, agents, editors, and sales. McNair explains the common mistakes made by most writers and shows how eliminating unnecessary words strengthens action, shorten sentences, and makes writing crackle with life. Containing 21 simple, straightforward principles, ""Editor-Proof Your Writing"" teaches how to edit weak verb forms, strip away author intrusions, ban redundancies, eliminate foggy phrases, correct passive-voice sentences, slash misused and overused words, and fix other writing mistakes. A superb addition to any writer's toolkit, this book will not only make writing clearer and more grammatical, it will also make it more concise, entertaining, and appealing to publishers.

These exhilarating letters—selected and introduced by Thomas Kunkel, who wrote Genius in Disguise, the distinguished Ross biography—tell the dramatic story of the birth of The New Yorker and its precarious early days and years. Ross worries about everything from keeping track of office typewriters to the magazine's role in wartime to the exact questions to be asked for a "Talk of the Town" piece on the song "Happy Birthday." We find Ross, in Kunkel's words, "scolding Henry Luce, lecturing Orson Welles, baiting J. Edgar Hoover, inviting Noel Coward and Ginger Rogers to the circus, wheedling Ernest Hemingway— offering to sell Harpo Marx a used car and James Cagney a used tractor, and explaining to restaurateur-to-the-stars Dave Chasen, step by step, how to smoke a turkey." These letters from a supreme editor tell in his own words the story of the fierce, lively man who launched the world's most prestigious magazine.

'So charming' Marian Keyes From the highly-acclaimed author of SMALL PLEASURES - winner of the 2022 British Book Awards Page-Turner When aspiring novelist Christopher Flinders drops out of university to write his masterpiece (in between shifts as a fish delivery man and builder's mate), his family is sceptical. But when he is taken up by the London editor Owen Goddard and his charming wife Diana it seems success is just around the corner. Christopher's life has so far been rather short of charm - growing up in an unlovely suburb, with unambitious parents and a semi-vagrant brother - and he is captivated by his generous and cultured mentors. However, on the brink of realising his dream, Christopher makes a desperate misjudgement which results in disaster for all involved. Shattered, he withdraws from London and buries himself in rural Yorkshire, embracing a career and a private life marked by mediocrity. Twenty years on, a young academic researching into Owen Goddard seeks him out, and Christopher is forced to exhume his past, setting him on a path to a life-changing discovery. Praise for Clare Chambers: 'Thoroughly enjoyable and very clever' Sunday Express 'Effortless to read, but every sentence lingers in the mind' Lissa Evans on Small Pleasures 'Beautifully observed and achingly funny' Woman & Home 'Chambers' eye for undemonstrative details achieves a Larkin-esque lucidity' Guardian on Small Pleasures 'Reminds us of the rare pleasure that an intelligent tale with a happy ending brings' The Sunday Times

For nearly twenty years Robert H. Phelps ran interference for, cheered on, and sometimes scolded star reporters and top editors at the New York Times. Starting his editing career at the desk of the Providence Journal-Bulletin, Phelps joined the New York Times as a copy editor, eventually serving as the Times news editor for the Washington bureau. Along the way he struggled with balancing his moral ideals and his personal ambition. In this compelling memoir, Phelps interweaves his personal and professional experiences with some of the most powerful stories of the era. With candor and keen observation, Phelps chronicles both the triumphant and the tragic events at the Times. He explains the missed lessons of the Pentagon Papers, why the Times played catchup with the Washington Post on the Watergate scandal but eventually surpassed it on covering that seminal story, and how the Times failed to report a key element of the riots at the 1968 Democratic convention. Phelps offers mixed appraisals of such luminaries as A. M. Rosenthal, James B. Reston, E. Clifton Daniel, and Max Frankel, and expresses great admiration for Seymour Hersh, Neil Sheehan, and Bill Beecher, three unlikely scoop artists. As Phelps settled in at the New York Times, journalism became the religion he had searched for since his adolescence. Over his tenure of nearly two decades, however, Phelps found that journalism’s stark emphasis on fact was insufficient to address many of life’s dilemmas and failed to provide the sustaining guidance he envied in his wife’s Catholic faith.

As the knowledge economy takes shape, editors face many challenges. Technology is transforming publishing, text is losing out to graphics, and writing is distorted by cliché, hype and spin. More than ever, editors are needed to add value to information and to rescue readers from boredom and confusion. The Editor's Companion explains the traditional skills of editing for publication and how to adapt them for digital production. It describes the editorial tasks for print and screen publications, from fantasy novels and academic texts to web pages and government documents. It is an essential tool for professional editors, as well as media and publications officers, self-publishers and writers editing their own work. This revised edition features extended coverage of on-screen editing, single-source publishing and digital rights, a comprehensive glossary of editing terms and a companion website developed especially for students that includes editing exercises, expert 'tips' and essential weblinks.

As Detective Kate Baxter works to find the culprit in a series of death threats against a high-profile magazine editor, it's her turn to drag everyone's dirty secrets into the light-but not before at least one body hits the floor.

Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.