The Australian Editing Handbook

By Elizabeth Flann, Beryl Hill and Lan Wang

The ultimate editing handbook, updated for the digital age

The Australian Editing Handbook has become an industry standard, recommended by the Society of Editors, and holds a prominent place on the shelves of writers, editors and students alike. Authors Elizabeth Flann, Beryl Hill and Lan Wang have assembled a comprehensive guide to every aspect of the editing process, from working with authors and receiving manuscripts, to editorial, production, printing and beyond.

The modern editor must go beyond editing and proofreading, and is often tasked with obtaining permissions, sourcing supplementary material and keeping the author on schedule and on budget. That means the editor is also the ultimate mediator of style and propriety for the piece, acting as gatekeeper between the author and the public. It's a substantial role, requiring the fundamental knowledge of several different fields to achieve effective results. A guide to managing each aspect of the job, The Australian Editing Handbook is an invaluable resource. The Third Edition includes updated information about the new challenges that editors face in the digital age, including:

• Editing on-screen
• Digital publishing
• Handling ebooks
• Print media versus online publications

The book includes two-color printing to make editing marks easier to understand, and a wealth of charts and diagrams that simplify complex topics and serve as handy quick-checks that make this guide the ultimate desk reference. For professionals and students in the field of editing, writing, publishing or journalism, The Australian Editing Handbook, 3rd Edition is the industry's number-one resource.

• Language: English
• Publisher: Wiley
• Release date: Aug 19, 2014
• ISBN: 9781118635988

Elizabeth Flann

Elizabeth worked for over twenty years in the publishing industry before moving into tertiary education to teach editing, scriptwriting and literature to postgraduate students. She is the co-author of The Australian Editing Handbook, and completed a PhD in 2001 entitled Celluloid Dreaming: Cultural Myths and Landscape in Australian Film 1970-1990. Now retired from teaching, she is able to give full rein to her true love: writing fiction. This is her first novel. 

Book preview

PART A

Introduction to publishing

1 Publishing roles and responsibilities

2 Project and production management

Publishing is a complex process that involves the application of numerous roles and skills, including commissioning the material, managing the publishing process, substantive and copy editing, designing, typesetting, proofreading, indexing, printing, marketing and distribution. Some people may fill a number of these roles, while others will focus on one specific task, depending on the size of the publishing organisation and the nature of the project and personnel involved. Part A of this book provides a broad overview of these roles and how the entire publishing process is managed from start to finish.

Chapter 1

Publishing roles and responsibilities

With the increase in complexity and accessibility of digital media, publishing is no longer mainly the domain of traditional publishing houses and government or corporate departments. Editors may find themselves working on a diverse range of publications, both print and electronic, from standard trade paperbacks, manuals, technical reports and journals to family histories, newsletters or digital publications such as websites, ebooks, social media content or ebook applications.

ebook application

stand-alone book application software, usually multimedia, that is not necessarily based on a particular standard and may run on only some devices

Terminology and coverage

Publishing and editing roles and products vary greatly, and this book cannot cover all possibilities and variations. Therefore the focus is mainly on book products published in print or electronically, using the following terminology:

The term publication is used to refer generically to any written work (such as a printed report, an issue of an academic journal or an ebook), no matter the content or format in which it has been published.

format (book)

the size, style, margins etc. for a publication; the trimmed page size; the medium of production, such as print, ebook or website

Book refers to a stand-alone work of fiction or non-fiction (such as a printed volume of poetry, an online technical report or a fiction ebook) published in print or digitally, but does not include serial works (such as a journal) or more open-ended works (such as a company website or a blog). Particular types of books will be specified where relevant.

An ebook is an electronic version of a publication, such as an EPUB, a PDF, an ebook app or a website, whether or not there is a printed version of the publication.

The term publisher is used here when referring to an individual or organisation that is responsible for producing and releasing a publication (such as a trade publisher, a government department or a charity).

EPUB

a free and open ebook standard developed by the International Digital Publishing Forum

PDF (Portable Document Format)

an Adobe file format commonly used in print and ebook production to view, proofread and print the exact typeset layout of a book without having to have the software that created it

For the sake of brevity and readability, this book does not include discussion of editing and production for newspapers, magazines and general websites, although many of the same principles would apply in those areas.

In most cases the publishing process still follows a conventional sequence, starting with the initial manuscript, proceeding through the editing and production stages, and culminating in a book, report, manual or other publication, whether in print or electronic format. We will take this as the standard model throughout this book and variations from this model will be dealt with where relevant.

manuscript (MS, pl. MSS, typescript)

originally handwritten copy, now used to describe an author’s unpublished copy, whether in hard copy or electronic format

The production of a finished publication from a raw manuscript or an author’s or publisher’s idea is a multistage process in which the editor plays a key role. Creating a printed or electronic publication requires ongoing cooperation between individuals and departments, and with companies outside the publishing organisation. Editors may manage all aspects or only parts of a publishing project to ensure that the required elements of the publication are produced to a high standard, on time and on budget. They may also tackle one or more of the editing, proofreading or indexing tasks themselves, delving into the publication to ensure that the content is logical and complete, the words are clear and free of errors, the language is appropriate to the audience, and the manuscript is appropriately prepared for production.

proofreading

checking typeset pages to ensure that they are free of errors, well laid out, accurate and complete

The editor, therefore, must be competent in liaising with others and in organising materials, people and processes. As well as being an arbiter of sense, structure, style and taste, an editor must also be a tactful yet firm adviser, and a watchdog on schedules and costs. A strong overall knowledge of the publishing process and the role of the individuals involved is also an essential part of the editor’s toolkit.

A multinational publishing company or large government department may employ dozens or even hundreds of people in clearly defined groups or departments, each with specific roles and tasks. In contrast, a small publishing company or community group may employ only two or three publishing staff, each of whom has a wide range of responsibilities. Where necessary, publishers commission external assistance from editors, designers, illustrators, ebook developers, animators, sound recorders, proofreaders, indexers and publicists, among others.

No matter what the size of the organisation, the overall progression of a publication remains the same. This chapter provides an overview of general publishing processes and the various roles and tasks involved. Many aspects of these arethen dealt with in more detail in the remaining chapters of the book.

INTERRELATIONSHIPS IN PUBLISHING

This section describes the individuals and teams who may be involved in the publishing process, the tasks they undertake and how they work with each other. There are wide variations between different publishing organisations, not only in staffing levels but also in the way in which they deal with the stages of production. In some organisations each role might be undertaken by several dedicated staff, while in others one person may handle several of the roles. Other organisations outsource the majority of the functions. Role titles also vary considerably; for example, copy editors, production editors, editorial coordinators and assistant editors may all undertake some aspects of editing but may also have other roles and responsibilities. Some instances of these variations are covered here, but the following should be taken as an overall guide to the different functions, recognising that every publishing organisation will be different.

Figure 1.1 (overleaf) shows an example of the individuals and responsibilities within a medium-sized publishing company and the way in which they work with each other throughout the publishing process. This illustrates the degree to which the roles and tasks need to be coordinated and individuals need to collaborate with each other in order to successfully publish a work.

Figure 1.1: example of interrelationships in a publishing company

copy editing

examining and correcting a written work according to an established editorial style; usually also involves electronic styling of a document in preparation for typesetting

substantive (structural) editing

examination and correction of a written work to ensure that its structure is sound, its order logical, its content complete, and the language clear and appropriate for its audience

prepress

preparation by a commercial printer of a digital file, such as a PDF or InDesign document, so that it is suitable for printing on specific equipment

proof

a trial reproduction of a typeset document or artwork for the purpose of checking and correction

ROLES AND RESPONSIBILITIES

The author

The author may have approached one or more publishers with a proposal, a draft or the finished manuscript of a written work. Alternatively, a publisher, publication manager or commissioning editor may have sought out an appropriately qualified or skilled person to write on a particular topic or to edit or compile, say, a collection of academic papers or commentaries on current events, or may have commissioned one or more writers for a series, such as reading books for primary school students.

Once a proposal has been discussed and accepted and the publication contracted, the author works with the publisher and editor to produce an acceptable manuscript, together with whatever artwork or other materials are required.

After consultation with the publisher and/or editor, the author is responsible for:

artwork

graphic material, such as photographs, drawings or charts, prepared for reproduction

delivering, on time, an acceptable manuscript (complete, clearly presented, factually accurate and to the length specified in the contract), usually in electronic format

supplying suitable artwork, or acceptable roughs for an illustrator to follow

providing appropriate acknowledgements

ensuring that no plagiarised, libellous or defamatory material is included

checking publication proofs

preparing an index if one is required and the author is able and willing to do so

discussing with the marketing/publicity department any advance publicity channels for the book (e.g. media interviews, recommendations for review or complimentary copies, public appearances, readings, social media) and helping to prepare a marketing plan.

rough

an artist’s or author’s sketch or layout to be used as a guide for the illustrator or designer

index

an alphabetical list of entries identifying where in a book significant topics, concepts, people and places are mentioned

The author may also be responsible for seeking permission to reproduce copyrighted material from other sources (e.g. text extracts from other publications, such as books, newspapers or journals, websites, blogs or poetry; or tables, graphs, maps, photographs or other artwork), though this is also sometimes the responsibility of staff of the publishing organisation.

permissions

agreement(s) obtained from the copyright owner to reproduce part or all of a copyrighted text or artwork in a publication

If there is more than one author, which is quite common for educational textbooks and other non-fiction publications, one of them is usually designated as the key author with whom the publishing staff liaise for the duration of the project, to simplify communication.

The publisher

In trade book publishing the publisher is principally concerned with planning and carrying through a successful and innovative publishing program, with a forward list to cover the next two to three years, sometimes longer for extended projects.

The publisher will:

commission new books from known, reputable or promising authors, or offer contracts to literary agents to win highly sought-after works

negotiate the acquisition of other suitable books (such as a takeover edition of a book previously released by another publisher)

explore new areas of publishing in developing or previously neglected areas

accurately assess the prospects of reprints, new editions or repackaged works of existing titles in the organisation’s backlist.

Each of these projects must be shown to be a financially viable proposition for the organisation and one that will further its reputation in its particular fields.

reprint

printing more copies of a publication, in exactly the same format or with only very minor corrections

edition

a new publication; a changed and/or reset reprint; a publication produced in a different format (e.g. paperback or ebook)

backlist

books already published by a company and kept in print

The publisher must take many factors into account, including:

the size of the target market

the existing or potential competition

the possibility that a book will become prescribed reading for, say, Year 12 students in English literature

a book’s chances of becoming a best-selling novel or non-fiction book

the potential for converting a book into ebook formats.

ebook

a digital version of a book, designed to be read using a device such as a personal computer, tablet or dedicated ebook reader

The publisher must be a competent negotiator capable of convincing authors to take on proposed projects, and must also be the first to identify and contract likely authors — competition from other publishers can be keen! The publisher must be alert to all possible sources of books with potential for the organisation’s list, and should be able to recognise seemingly unpublishable work that could be reworked by a skilled editor into a viable publishing proposition. Increasingly, this includes identifying works that have already been self-published, including those published on the internet, that could be re-issued successfully through more formal channels.

The publisher looks for quality and originality of ideas and writing; the historical, social, cultural or educational value of a topic; and an innovative presentation. Other people in the editorial and marketing departments are often asked to read and comment on the initial manuscript or idea to assess whether it will sell widely and quickly or only to a specialist market, or whether it might perform well on the company’s backlist (that is, sell steadily in good numbers for many years, with potential for reprints and new editions).

Authors and agents may choose to make submissions to several publishers simultaneously, and sometimes agents put up manuscripts for bids. Publishers should be advised by the author/agent if they are competing against others for the rights to the book, and must be aware of time limits, auction details or other requirements.

Assessment time varies. Manuscripts that are obviously unsuitable for the publisher’s list can be rejected almost immediately. Others may take some weeks to assess properly, especially if the publisher commissions a reader’s report (a modest fee is usually paid for this service), for example, for technical or educational subjects, current affairs or literary works. The publisher may also seek a legal opinion at this stage to ensure that the work presents no potential legal problems.

Book proposals are usually discussed at acquisitions meetings, where the publisher meets with representatives from other sections of the organisation, such as senior editors, sales and marketing staff, the production manager and accounting staff. All aspects of the book are reviewed to ensure that it will be financially viable or, if not, to decide whether there is a strong case for publishing anyway (for example, to ensure completeness of a series or to embark on a new area of publishing). If the committee agrees to proceed with a particular book, a contract is drawn up and signed by both publisher and author. The author is then given general guidelines to follow in preparing the final manuscript.

The publisher remains in regular or occasional personal contact with the author during the subsequent progress of the work. At either the editor’s or the author’s request, the publisher will try to resolve any difficulties arising between the author and members of the publishing organisation at any stage of negotiation or production.

The publisher, often in consultation with the sales department, decides on the most appropriate publishing date, and briefs the production manager and editor accordingly. The publisher must also brief the editor on the proposed extent and style of the book, the number of illustrations and their reproduction (whether in colour or black and white), the format(s) in which the book is to be published (e.g. print, EPUB or ebook application) and other publication details. The publisher will indicate the target market, the main theme of the book, the appropriate language level and level of editing, and may give the editor an indication of whether the author is likely to be cooperative or difficult, or is about to go on safari in Africa.

extent

the length of a book: the number of pages or the number of words

Large publishing companies may also employ commissioning editors, who are responsible for generating and commissioning new titles and finding new authors. In smaller organisations, tasks may be collapsed, so that a publisher or commissioning editor may also supervise or edit the manuscript.

In corporate and government organisations, publications are normally commissioned and written by in-house staff or by consultants employed by the organisation, under the oversight of a publication manager. Government publications often have to follow strict guidelines, and it is the publication manager’s responsibility to ensure that authors, editors and designers associated with the project are fully briefed on requirements and formats.

A sample publisher’s brief is given in appendix 1.

The project management team

The project manager

Project managers may be staff members, such as in-house editors, or they may be external editorial or publishing consultants contracted to take on the management of a particular publishing project. In either case they may employ in-house, contract or freelance consultants, and will be answerable to a senior member of the organisation, such as a publisher, publication manager or company manager. They will usually have extensive experience in the relevant field of publishing, as editors or designers, or as production managers or controllers. Senior editors working in-house have a number of similar responsibilities within the company structure.

When commencing work on a publishing project, the project manager will need to know:

the management plan

the contract conditions, if applicable

the staffing policy

the budget

the time frame

the requirements or specifications of the project (audience, extent, style, formats etc.)

a schedule for meetings and preparation of updated progress reports.

Project management is discussed in more detail in chapter 2.

The contracts manager

Large organisations often employ a contracts or rights and permissions manager. In other cases, contract issues may be the responsibility of the publisher, the publication manager or the organisation’s legal advisers.

Once the decision to publish is made, a contract is drawn up by the contracts manager or publisher for approval and acceptance by the author (or copyright owner). The contract is a legally binding agreement between the author and the publishing organisation, in which the author (the owner of the copyright) leases to the publishing organisation the right to develop and publish the work on the author’s behalf under a number of agreed conditions. To avoid any later difficulties, this contract should be signed by both parties before any substantial editorial or design work is begun.

The contract will establish:

the rights and obligations of each party (including a literary agent, if one is involved)

any advance payments (on signing the contract, on receipt of the final manuscript or on publication)

the royalty rate and when royalties will be paid (usually twice a year)

the ownership of copyright

the type(s) of licence granted by the author to publish the work (including exclusive rights and territorial rights).

The author gives a guarantee that no one else’s copyright (on text, quotations or artwork) has been infringed upon; that no formula, instruction, activity or recipe included in the work contains directions likely to cause injury; and that permission to use copyright material has been (or will be) sought and received. The contract also stipulates who is responsible for providing the artwork, paying permissions fees (the author or the publisher, or both) and the amount, if any, to be paid by the publisher; anthologies, in particular, usually involve substantial permissions fees, as do many educational books and websites.

The contract also defines any subsequent rights for further reproduction of all or any part of the work as extracts or translations, or in electronic media, and any options for television or film rights or merchandising, plus any requirements for new editions and reprints. It may specify options on future work by the author, and define the publisher’s obligation to advise the author if the work goes out of print. The contract will also specify how other income; for example, Copyright Agency Limited (CAL) distributions, and fees for future permissions to use the author’s work — is to be divided between the author and the publisher.

Copyright Agency Limited (CAL)

a non-profit organisation representing artists and other content creators that provides information and advice on copyright issues

A date for delivery of the manuscript is specified, together with the approximate extent of the manuscript and the amount of illustrative or other material allowed for. The number of complimentary copies to be given to the author on publication will also be specified in the contract.

It may be helpful for the editor to read the contract (if available) before starting work on the manuscript, but remember that all the details of the contract are confidential. No separate contract is required for authors who are writing as government or corporate employees; their rights and responsibilities are covered by their contract of employment. Freelance editors and consultants may also be required to sign a formal contract for each project.

The editor

The editor’s role can range from the very broad to the specific, but essentially involves working directly with an author’s manuscript to ensure that the work is as polished as possible at publication.

In larger companies where several editors are employed, a managing (or senior) editor may supervise a team of editors and editorial assistants, and oversee outsourcing work to freelance editors. Experienced editors give valuable on-the-spot training, advice and guidance to trainee editors, and help to resolve any difficulties that may arise. Smaller organisations may employ only one editor.

The editor may be responsible for liaison with a number of other people on a range of issues, including:

the publisher — participating in preliminary discussions to provide structural guidance to the author before the contract is signed; reporting on the progress of all contracted publications, including any possible legal issues, difficulties with the production or budget problems

the author — discussing the development of the manuscript and any proposed structural reorganisation; advising on house style, and preparation and editing of the manuscript; ensuring that artwork, permissions and indexing are provided where required; obtaining approval of the proposed design and cover blurb; checking proofs

house style

a publisher’s guide to preferred spellings, punctuation, word usage, formatting and preparation of electronic files

blurb

a description of the book to appear on the jacket or back cover, or in publicity material

a freelance editor and/or proofreader — organising contracts; briefing them regarding the nature and scope of the work; liaising on any editing or proof stages that are not being carried out in-house; ensuring that editorial standards have been met; checking and approving invoices for payment

the indexer — organising contracts; briefing regarding the scope of the work; checking that the work meets requirements; checking and approving invoices for payment

the production manager or production assistant — estimating the extent of the manuscript; making decisions on format(s) and paper stock to be used; obtaining estimates of printing costs; preparing a blad for marketing purposes; outlining budget restrictions; planning an appropriate and realistic schedule for the production of each publication; planning the movement of material between editor, designer, typesetter, printer, ebook developer and others involved in the publication

stock

paper or other material (e.g. cloth, plastic) used for printing or binding

blad

a version of a publication created for marketing purposes, containing sample chapters or sections and enclosed in a proof of the cover

the designer or illustrator — preparing the necessary briefs

the designer or typesetter — briefing and liaising on the text and cover design; proofreading and making corrections

the printer — checking printer’s proofs, unbound or folded sheets, advance copies, covers, jackets and run-ons for marketing material

the ebook developer — proofreading and making corrections; checking functionality and linking

the marketing/publicity department — providing information on the author and blurbs, and copy for advertisements, catalogues and marketing material; proofreading cover blurbs.

A sample page design brief is provided in appendix 2.

Remember that the author is responsible for the content (the facts, the argument or analysis, the originality of ideas or story), and the editor for professional advice on the form (the shape, the organisation and ‘packaging’). Flexibility of approach and constant communication of ideas and information between editor and author are essential.

copy

all material that is to be set in type

The editor must be aware of all the information in the relevant editorial files, of which version of the manuscript to use and of decisions made on preferred style, spelling, what artwork or other materials are still to come, biographical notes, the author photograph, the list of agreed artwork, copyright information and permissions, readers’ reports, and so on. Copies of email correspondence should also be filed so that discussions and decisions on any changes are recorded. The editor is responsible for the efficient and secure management of all relevant files throughout the publication process, including all versions of the manuscript, artwork, cover concepts and blurbs, and any other relevant material, all of which should be clearly identified with the author’s name and the publication’s title. Normally such files are stored electronically on a secure server managed by the publishing organisation.

file

a set of digital information with a unique name and location in a computer system or external storage medium (such as a hard disk or file server)

Division of editing tasks

Editors are required to perform different tasks at different stages of a manuscript’s development, according to the requirements of the particular manuscript. Sometimes the editing tasks are divided among several editors. The management of the editing process may be the responsibility of a managing editor, a project manager or a production controller, but is often the responsibility of a copy editor. A complex manuscript may require the attention of a substantive (structural) editor. The copy editor may also be responsible for proofreading, indexing or supervising freelance proofreaders.

In a complex manuscript where the tasks are undertaken by a number of different editors, the job divisions can be summarised as follows.

A managing editor:

liaises with the author and publisher, and with the design, production, marketing and publicity departments

checks that any requirements for specific structure, formats and styles are adhered to

ensures that editorial standards are met

ensures that legal requirements such as the use of government symbols or the provision of a letter of transmittal are met

ensures that schedules are maintained (especially if publication is tied to a specific event or date)

supervises the allocation of work and other staff involved in the project

commissions and contracts additional staff as required (freelance editors, proofreaders, indexers, designers, picture researchers, illustrators, cartoonists, photographers, stylists, typesetters) and oversees their work.

letter of transmittal

a signed letter from the head of a reporting body to the responsible government minister, authority or client

A substantive (structural) editor:

establishes the structure and sequence of the manuscript

ensures that all material is clear and unambiguous, logically organised and comprehensive

suggests improvements in style, structure, factual content and illustration

assists with the development of characters, plot and setting in fiction works

tailors the language to suit the target market or to reduce sexist, racist or other bias

suggests appropriate artwork.

A copy editor:

corrects editorial and linguistic errors (grammar, spelling, punctuation, paragraphing, inaccuracies, omissions, repetitions, ambiguities, language level)

applies electronic styling to the manuscript to reflect the structure of the content

prepares and maintains an editorial style sheet and a list of design styles

watches for potential libel, obscenity, plagiarism or breach of copyright

checks the progress of copyright permissions with the author or permissions assistant

electronic styling

identifying the semantic role of paragraphs or characters in a text, which can then be used to control the consistent appearance (formatting) of all text during typesetting (not to be confused with editorial style)

editorial style

editorial decisions made about the grammar, punctuation, usage and spelling of text

prepares preliminary pages (prelims), and edits endmatter such as notes, appendixes, bibliography, glossary and index

checks all artwork and its labelling and placement

ensures that all artwork is inserted, and prepares and follows up checklists of artwork at various stages

prepares a brief for an illustrator if necessary

prelims (preliminary pages)

all pages preceding the main text of a work, such as the title page, imprint page, preface and contents page

endmatter

all material that follows the main text, such as appendixes, notes, bibliography and index

selects material for a sample setting

prepares the final version of the manuscript for the designer or typesetter

prepares a brief for the designer listing the types of headings, the number and types of artwork, what sort of quoted material is included (text, poetry etc.) and other requirements for fonts (for foreign languages, mathematics etc.), and transmits clearly the author’s and publisher’s preferences and requirements

sample setting

a page design showing where and how text and graphic elements are to be presented

writes cover blurbs and marketing material

checks printer’s proofs

checks advance covers and advance copies

maintains a record of corrections for future reprints or new editions.

For a sample artwork and permissions brief, see appendix 3.

For a sample illustration brief, see appendix 4.

A freelance editor:

carries out all the basic tasks of a copy editor

may be contracted for a specific task, such as substantive or scientific editing

may be required to organise artwork and permissions or picture research, and compile an artwork and permissions brief.

A proofreader:

checks proofs or ebook versions at every production stage

checks that all artwork has been correctly placed.

In many cases, however, all these tasks will be the responsibility of the in-house or freelance copy editor.

The freelance editor

A freelance editor is employed by an organisation or an individual on a contract basis to work, usually from home, on a specific project or a series of complementary projects.

The main difference between a freelance and an in-house editor is that the freelance editor works in relative isolation, without the support network available to an in-house editor. Freelance editors therefore need a clear understanding of what should be done and what information is needed to do it. Publishers, managing editors and project managers do not want to send out a manuscript to an editor and then find there is a week’s work still to be done on it when it is returned. For this reason, they will usually seek freelance editors who have previously worked as in-house editors and are experienced in all aspects of the publishing process.

Most publishing organisations send a brief with the manuscript outlining what they expect the freelance editor to do. If no written brief is provided, or problems not identified in the brief appear during editing, it is important for freelance editors to seek clarification of the project from the person who is commissioning the work and take notes, including dates, of all discussions. It is also a good idea to send the organisation a copy of these notes, and to keep on file copies of all emails and notes of telephone conversations in case of future disagreements.

Freelance editors rely heavily on liaison with in-house personnel. It is important for a freelance editor to know the complete schedule for the manuscript and the full extent of their involvement in the production. For example, if they are required to both edit and proofread the book, or edit and proofread the index, they will need notification of the estimated timing of these stages so the tasks can be fitted into their own schedule. Otherwise, these jobs may need to be split up and passed on to another person. It is essential to have good, regular communication between freelance and in-house editors and for freelance editors to have strong time-management skills to ensure that schedules can be managed appropriately.

It is equally important for a freelance editor working for a publishing organisation to ensure that the terms of any contract make clear such questions as whether the budget is fixed or can be negotiated, and what steps to take if work on the manuscript exceeds the schedule or budget.

Freelance editors are often employed for the copy-editing process only, while other (often cheaper and less experienced) freelance proofreaders may be used for the later stages. Most freelance editors prefer to at least oversee the later stages of a manuscript they have edited. It is frustrating for a meticulous editor to see a project appear in print full of typographical errors because of careless proofreading. It is particularly galling if the publication is then unfavourably reviewed for ‘sloppy editing’.

typography

arranging type to form a pleasing design and assist in communicating its content and meaning

The availability of desktop publishing systems and the ease of publishing works as ebooks has created a boom in self-publishing, particularly in romance, crime and popular fiction. This has led to an increasing trend for authors to seek the services of freelance editors to help them prepare their work for publication. Before editors agree to work with a self-publishing author, a contract should be developed that states either an hourly rate or a quote for the whole job, and spells out clearly what services will be included. For example:

Will the work include substantive (structural) editing and electronic styling, or basic copy editing only?

Who will be responsible for doing corrections and formatting?

Will proofreading of the final page proofs be part of the job?

Should the editor offer design advice?

Who will organise permissions requests for photographs or other material used?

Who will be responsible for checking factual data?

For more details about contracts and other management issues, see chapter 2.

The production team

The production manager

In large companies and organisations, production of a publication normally falls under the direction of a production manager, production controller or production assistant, who manages and records all the physical stages of production. In smaller organisations, the production manager’s role may be undertaken by the publisher, publication manager or editor.

The production manager is responsible for:

working with the publisher, editor and other staff to establish or confirm schedules for editing, design, typesetting, printing and the development of electronic publications

organising competitive quotes from external suppliers such as designers, typesetters, printers and electronic product developers, as required

commissioning and contracting freelance staff, as required (unless this is done by a managing editor)

costing each publication and maintaining budget control

maintaining progress reports on each publication for discussion at publishing meetings

typesetting or desktop publishing (DTP)

the use of specialist software, such as Adobe InDesign or QuarkXPress, to produce a print-ready and/or electronic copy of a publication

liaising with editors, designers, illustrators, typesetters, ebook developers, multimedia specialists, animators, sound recorders, printers, warehouses, and shipping and customs agents, as required

together with the editor, designer and publisher, ensuring that the publication is produced on time, to the highest quality within the available budget

confirming the final details and approving the printed and/or electronic versions of the publication

organising delivery of printed sales materials and finished stock

organising the upload of ebook publications to online sales portals

at a later date, organising and checking any reprints that are required.

The designer

The designer, who may be employed either freelance or in-house, is responsible for:

interpreting and following the brief from the editor (including recommendations from the publisher)

commissioning illustrators, in consultation with the editor and picture researcher (if there is one)

designing the cover and all aspects of the text (the type and the size of the page, line lengths, chapter and page drops, styles of headings and ancillary material such as appendixes and other text elements, layout of artwork)

drop

the distance between elements on a page, such as from the top of the page or the baseline of the running head to the baseline of the first line of the type area

ensuring that reports, manuals and so on adhere to any pre-existing guidelines regarding format and design

formatting the text using a desktop publishing system (this task may be given to a typesetter or editor to follow the designer’s instructions), and checking that pages have been consistently prepared according to the design specifications

checking proofs of all colour and black-and-white artwork, and colour proofs of covers

designing marketing material, and packaging (such as slip cases) and ancillary material.

If pages are to be prepared by a separate typesetter, the designer will be responsible for providing specifications for styles or a page template, using the appropriate software program.

Both the designer and editor check that the final artwork is complete and correctly inserted and scaled. They later check the final print or electronic proofs to ensure that all the pages have been produced correctly.

The typesetter

Typesetting may be carried out by an editor, a designer or a specialist typesetter. In this book, for clarity, the person who is doing the typesetting is referred to as a typesetter, even if they also perform other roles.

Typesetters use desktop publishing software to format and lay out manuscripts into pages according to design guidelines, and integrate graphics and other design elements as required. They may work with editors, the production manager and the designer to ensure all elements of the publication are accurately composed according to the brief. The resulting files are then delivered to a printer or to an ebook developer, for production of a print or electronic publication, respectively. Some typesetters may also provide conversion services to create electronic versions of the publication.

Government and corporate organisations and smaller trade publishers may employ in-house or freelance typesetters, while larger publishing companies often use offshore (overseas) typesetting services.

Editors are increasingly involved in typesetting, with tasks ranging from more traditional proofing and checking, to taking in corrections electronically — to both the manuscript and the page proofs — and undertaking the entire typesetting process themselves.

The printer

Local or