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What you learned in English class will help you with syntax about as much as what you learned in driving lessons will help you with mechanics—you get by fine until one day you find yourself stopped in the middle of a sentence with smoke coming out from under the hood. In this webinar, we’re going to learn how to take apart sentences the way a mechanic takes apart an engine.
The key learning objectives of this webinar are to
- diagram sentences the way linguists do—accurately and elegantly,
- learn about the building blocks of syntax,
- clear up some common misunderstandings about verbs, nouns, and pronouns, and
- dismantle and fix some of the most common mistakes people make when trying to apply “proper grammar.”
Date: Thursday, April 27
Time: 2 p.m., EDT / 11 a.m., PDT
Length: 1.5 hours
Member price: $56.25
Non-Member price: $75
Editor for Life: Heather J. Wood, freelance editor, author, and artistic director of the Rowers Reading Series
Interview conducted by Jennifer D. Foster
A career as an editor is often a solo adventure, especially if you’re a freelancer. So we thought one way to better connect with fellow editors was to ask them the W5: who, what, where, when, and why. Read on for some thought-provoking, enlightening tidbits from those of us who choose to work with words to earn our keep.
Heather, please tell us a little about yourself, the kind of work you do, and how long you’ve been an editor.
I think of myself as a “wearer of many hats.” I started my career as a marketing copywriter for Reader’s Digest Canada in Montreal and now realize that was part of my early editorial training, as the work often required the editing/rewriting of marketing and promotional material from other Reader’s Digest countries. And, of course, all written material had to conform to Reader’s Digest’s specific house style and proofreading, which was a huge part of the job. I started editing officially sometime after I moved to Toronto, and was focusing more on my own fiction writing, while also working as a freelance copywriter. It was a natural, if unplanned, progression. I learned a great deal about the book-editing process from working with a fiction writers’ workshop and, especially, from working with my fantastic editor, Shirarose Wilensky, on my two novels, Fortune Cookie (Tightrope Books 2009) and Roll With It (Tightrope Books, 2011).
I work with Tightrope Books as the managing editor of the Best Canadian Poetry and Best Canadian Essays series, and I perform a variety of copy editing and proofreading tasks for these two series. As a freelancer, I edit fiction and non-fiction projects, as well as provide individual authors with marketing and publicity services. I’m also the artistic director of Toronto’s Rowers Reading Series and I’m often called upon to edit the series’ grant applications. When choosing writers to read at the series, nothing makes me happier than authors with well-edited books.
The highlight of my editing career so far is the Gods, Memes and Monsters anthology from Stone Skin Press in the UK. I was nominated for a 2016 World Fantasy Award for my work on Gods, Memes and Monsters, which involved curating and editing the short fiction work of 60 international authors. While working on that anthology, I discovered that I very much enjoyed editing fantasy, science-fiction, and horror writers. (more…)
Making the transition from traditional print writing to the Internet? They’re very different, requiring new skill sets and social media savvy. The key concept of this webinar is that participants will learn the differences between print and online writing, and how to transition from the former to the latter.
Date: Tuesday, April 4
Time: 1 p.m., EDT / 10 a.m., PDT
Length: 1.5 hours
Member price: $56.25
Non-Member price: $75
Greg David is a veteran television critic and journalist who has been in the business for over 20 years. He is currently the owner of TV-Eh.com, a website devoted to covering the Canadian television industry.
The Nitpicker’s Nook is a monthly collection of language-related articles, interviews, and blog posts. If you read something that would make a good addition, email your suggestion to [email protected].
By Carol Harrison
Forgive me if this is a couple of months old, but it’s funny! Don’t fart in the House.
What you should read before you say fart in the House of Commons.
And speaking of saving a language, two Fulani brothers invent an alphabet for their language. Now they’re working on a font.
“A rose by any other colour looks just as sweet!” How did colours get their names?
And why you shouldn’t mix your colours in the –wash.
Try to or try and; there is no do.
The latest kid on the gender-neutral block: Latinx.
This article was copy edited by Ellen Fleischer.
By James Harbeck
There has been much discussion of the Nobel Prize in Literature being awarded to Bob Dylan. I have no interest in weighing in on whether his work is Nobel quality—I won’t pretend to understand the judges’ criteria—but I do have some thoughts on the question of whether a songwriter is even eligible to be awarded the prize.
There is no Nobel Prize in music, or in songwriting. So we can’t say that he should be considered for a different category unless you think songwriting is more appropriate to the Peace Prize, or perhaps to Economics. No, if he’s getting a prize, Literature is it. The question is whether songs qualify as literature—whether, to be frank, they’re good enough, or whether they’re “just songs.” There’s something of a privileged-genre attitude, a white-marble image of literature (that is, the truly worthy kind of text) as being cool prose in dry books that silently dissects humanity’s problems, not in the noise of a musical performance.
This has about as much basis as the white-marble image of Greek statuary, which, we now know, was originally painted bright colours. We ought to remember that the novel, as such, has only existed for a few centuries. Narrative texts pretending to any literary merit were expected to be written in verse until early modern times. And why was that? Because the written literature was, originally, the lyrics of songs and chants and declamations to music. The vaunted Greek drama had not one word that was flatly spoken. The psalms of the Bible were for singing. Beowulf was incomplete without a harp to aid the recitation. The fact that we have peeled the spoken from the sung, and ultimately the silently read from the spoken, does not have any bearing on the human insight conveyed in the words. Poetry has been deemed worthy of the Nobel: Pablo Neruda, Seamus Heaney, and Wole Soyinka have all won it, and it is terrible to think that they might have been ineligible if they had, like Leonard Cohen, been driven by economics to set their poetry to music. (more…)