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.

For more than fifteen years, the manuscript editing department of the Press has overseen online publication of the monthly "Chicago Manual of Style" Q&A, choosing interesting questions from a steady stream of publishing-related queries from "Manual" users and providing thoughtful and/or humorous answers in a smart, direct, and occasionally cheeky voice. More than 28,000 followers have signed up to receive e-mail notification when new Q& A content is posted monthly, and the site receives well over half a million visitors annually. "But Can I Start a Sentence with But ? "culls from the extensive Q&A archive a small collection of the most helpful and humorous of the postings and provides a brief foreword and chapter introductions. The material is organized into seven chapters that cover matters of editorial style, capitalization, punctuation, grammar and usage, citation and quotation, formatting and other non-language issues, and a final chapter of miscellaneous items. Together they offer an informative and amusing read for editors, other publishing professionals, and language lovers of all stripes."

The Copyeditor's Handbook is a lively, practical manual for newcomers to publishing and for experienced editors who want to fine-tune their skills or broaden their understanding of the craft. Addressed to copyeditors in book publishing and corporate communications, this thoughtful handbook explains what copyeditors do, what they look for when they edit a manuscript, and how they develop the editorial judgment needed to make sound decisions. This revised edition reflects the most recent editions of The Chicago Manual of Style (15th ed.), the Publication Manual of the American Psychological Association (5th ed.), and Merriam-Webster's Collegiate Dictionary (11th ed.).

Essays from twenty-seven leading book editors: “Honest and unflinching accounts from publishing insiders . . . a valuable primer on the field.” —Publishers Weekly Editing is an invisible art in which the very best work goes undetected. Editors strive to create books that are enlightening, seamless, and pleasurable to read, all while giving credit to the author. This makes it all the more difficult to truly understand the range of roles they inhabit while shepherding a project from concept to publication. What Editors Do gathers essays from twenty-seven leading figures in book publishing about their work. Representing both large houses and small, and encompassing trade, textbook, academic, and children’s publishing, the contributors make the case for why editing remains a vital function to writers—and readers—everywhere. Ironically for an industry built on words, there has been a scarcity of written guidance on how to approach the work of editing. Serving as a compendium of professional advice and a portrait of what goes on behind the scenes, this book sheds light on how editors acquire books, what constitutes a strong author-editor relationship, and the editor’s vital role at each stage of the publishing process—a role that extends far beyond marking up the author’s text. This collection treats editing as both art and craft, and also as a career. It explores how editors balance passion against the economic realities of publishing—and shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever. “Authoritative, entertaining, and informative.” —Copyediting

Home to the New York Yankees, the Bronx Zoo, and the Grand Concourse, the Bronx was at one time a haven for upwardly mobile second-generation immigrants eager to leave the crowded tenements of Manhattan in pursuit of the American dream. Once hailed as a "wonder borough" of beautiful homes, parks, and universities, the Bronx became--during the 1960s and 1970s--a national symbol of urban deterioration. Thriving neighborhoods that had long been home to generations of families dissolved under waves of arson, crime, and housing abandonment, turning blocks of apartment buildings into gutted, graffiti-covered shells and empty, trash-filled lots. In this revealing history of the Bronx, Evelyn Gonzalez describes how the once-infamous New York City borough underwent one of the most successful and inspiring community revivals in American history. From its earliest beginnings as a loose cluster of commuter villages to its current status as a densely populated home for New York's growing and increasingly more diverse African American and Hispanic populations, this book shows how the Bronx interacted with and was affected by the rest of New York City as it grew from a small colony on the tip of Manhattan into a sprawling metropolis. This is the story of the clattering of elevated subways and the cacophony of crowded neighborhoods, the heady optimism of industrial progress and the despair of economic recession, and the vibrancy of ethnic cultures and the resilience of local grassroots coalitions crucial to the borough's rejuvenation. In recounting the varied and extreme transformations this remarkable community has undergone, Evelyn Gonzalez argues that it was not racial discrimination, rampant crime, postwar liberalism, or big government that was to blame for the urban crisis that assailed the Bronx during the late 1960s. Rather, the decline was inextricably connected to the same kinds of social initiatives, economic transactions, political decisions, and simple human choices that had once been central to the development and vitality of the borough. Although the history of the Bronx is unquestionably a success story, crime, poverty, and substandard housing still afflict the community today. Yet the process of building and rebuilding carries on, and the revitalization of neighborhoods and a resurgence of economic growth continue to offer hope for the future.

World War II. Hitler is threatening to take over the world. Eddie Carl thinks America should stop him-it's just plain right. But Eddie's just a kid, and the farm in Ellisville, Illinois, is a long way from the fighting. Ellisville: where the big news stories are gophers in the graveyard and the new bank alarm. But then America joins the war and Eddie's brother Thomas goes off to fly a bomber. Suddenly the war doesn't seem so far away. And Eddie faces more grown-up problems at home: A fire at the Strothers' place, and his gypsy friend accused of arson. Grampa Rob, all stubborn and mean. Grama Lucy with her secrets. And that redhead Sarah, who definitely likes him-unless maybe she hates him. Somehow Eddie's in the middle of it all, trying to figure out what's right. Let Thomas fight World War II. Eddie's war is right here in Ellisville. Eddie's War is a lyrical collection of prose vignettes linking Eddie, his family, and a small-town cast of Ellisvillians. Poignant and funny, this World War II story tells how a distant war affects the life of one boy in the Heartland.

The Copyeditor’s Workbook—a companion to the indispensable Copyeditor’s Handbook, now in its fourth edition—offers comprehensive and practical training for both aspiring and experienced copyeditors. Exercises of increasing difficulty and length, covering a range of subjects, enable you to advance in skill and confidence. Detailed answer keys offer a grounding in editorial basics, appropriate usage choices for different contexts and audiences, and advice on communicating effectively with authors and clients. The exercises provide an extensive workout in the knowledge and skills required of contemporary editors. Features and benefits Workbook challenges editors to build their skills and to use new tools. Exercises vary and increase in difficulty and length, allowing users to advance along the way. Answer keys illustrate several techniques for marking copy, including marking PDFs and hand marking hard copy. Book includes access to online exercises available for download.