Get used to it

Meltdown for Some NY Freelancers

Moi: I'd suggest a few belts of tequila before you tackle this one:

http://www.nytimes.com/2009/06/21/nyregion/21about.html?_r=4&ref=nyregion

Quote of the Day

This is not going to become a regular feature, but I ran across this quote a few days ago (forget which book):

"A guy approached [C.S. Lewis] on the street one day and asked him if he could spare a few shillings. Jack immediately dove into his pocket and brought out all his change and handed it over to this beggar. The chap he was with—I think it was Tolkien—said, 'Jack, you shouldn't have given that fellow all that money, he'll just spend it on drink.' Jack said, 'Well if I had kept it, I would have only spent it on drink.'"

Quote of the Day

Those damn womenfolk.

From a book on religion and society in Latin America:

"In 1733, for example, the friar Diego Núñez accused his mulata slave of bewitching him, causing him to expel from his body human and animal hair, stones, wool, and a paintbrush."

I'm sure ER doctors hear this one all the time.

UPs

Not from the Good News Department. Better that I just keep working and avoid updates from the outside world.

http://www.google.com/hostednews/ap/article/ALeqM5jqpGXF8kW1UOrJfxyspSPQKKVwgwD98R8N1G0

Nice quote about linebackers, but it is true that most big southern universities (or their alumni supporters, anyway) are far more concerned with their standing in the AP polls than, well, just about anything else.

Ugh.

Ahem

This blog quoted on the editorial page of the Columbus (GA) Ledger-Inquirer.

http://www.ledger-enquirer.com/178/story/732551.html

E-Publishing, Journals, Page Citations (or Lack Thereof): Yay or Meh?

Working on a book about Latino/a theology. One of the chapter authors quotes a journal that used to be in printed form, but now publishes only electronically. The citation is author, article title, journal name, and month/year. No page number, but a note from the chapter author indicates that no page number appears because the citation is from an electronic journal.

Hmm.

Different takes:

I suppose that if I'm looking up a quote from a journal article online, then I can just search for the term in the article. Good in theory, but half the time when I search for something on a Web page (using, for example, the "find on this page" feature), the search term doesn't appear. One is at the mercy of any number of things that I don't claim to understand. If I suspect that the search feature is not working properly, then I'll search for "the" or "and," and if the computer tells me "Search term not found," then I know that the search engine for that page is not working properly.

And what if it's not a direct quote, but the author is referring to a concept, though not necessarily by the exact name that the cited author uses? Then how is one to find it electronically among what might be thousands of words?

And why would it be so hard for a electronic book/page designer to put in faux numbers somehow so that a researcher could indeed look on a particular page for a concept? I think some forward-thinking designers do this.

Compared to Gutenberg, we're still pretty early in this e-publishing game. There are some quirks to be ironed out. But as a reader, I'd be a whole lot happier if I saw a citation that read something like:

Jim James, "Latinos/as and the Liberation Motif," Hispanic Theology Journal 4, no. 3 (December 2002): 36.

Yeah, I'd have to locate the issue, but I'd feel a whole lot more confident knowing that -- once I did -- I'd pretty quickly be able to find what I was looking for.

On Second Thought

For one of my copyediting clients, I edit the manuscript, using the Track Changes feature in Word, and then send the redlined printout to the author to review the changes. The author does per's review, answers my queries (in a perfect world), and returns the document to me. Then I make the author's changes, accept all the changes in Word, and send the marked-up, redlined proofs back to the press along with the cleaned-up files.

Sounds easy enough. The press pays me three-quarters of the fee when I send the document to the author, and the final 25 percent upon delivery of the final manuscript.

I just finished working on a book for this press, and the author made a whole lot more changes than is typically done -- line edits, reworking some material, adding and deleting sources . . . and the most puzzling: changing material in prose extracts. A prose extract, for you newbies, would be long sections of material quoted from other books.

In the parlance of the times, WTF?

One of at least two things happened here, none of which offer particularly satisfactory explanations.

1. The author misquoted material the first time around, which makes an editor worry and scratch one's head. Presumably the author is just keying in the material from the source.

2. The author was quoting dozens of sources from memory across multiple genres, and only later went back to check per's work.

Both seem most unlikely.

Why would an author be changing quoted material? Why, after the book has already been copyedited, would an author even go back to the source material to see if it was properly quoted?

More questions than answers were raised in my mind by this particular episode. And we are not talking about obscure works or works in translation, where the author might have found a passage phrased better by another translator. For the most part, these were all recognizable works of fiction or nonfiction or published screenplays.

I am puzzled.

Remember what Eliot wrote? "We are the hollow men, we are the stuffed men," or maybe that was, "We're empty inside, we are filled with goo."

What Do Jay Leno and Land on Demand Have in Common?

From the AP story today about Jay Leno's final show as he moves from The Tonight Show to prime time:

There was a lengthy "Best of Jaywalking" segment, highlights of Leno asking people on the street questions about history and other topics. A sample: A woman correctly said the first man to land on the moon was Armstrong, but when asked his first name offered "Louie," not Neil.

From this blog:

http://boblandedits.blogspot.com/2008/11/catch-of-day.html

Dichotomy

I'd subscribe to Publishers Weekly if the subscription price was a lot less than the $200/year they charge. Not that I'd likely ever read the thing. My long-suffering spouse bought me a two-year subscription to the New Yorker for Christmas 2007, and I'll spend the rest of my life reading those 100 issues. The New Yorker is an amazing piece of work, but, well, reading's not high on my list of leisure activities for obvious reasons. Great cartoons, though.

But I did figure out recently what I should have known long ago: that Publishers Weekly has a daily email news thingy you can sign up for, as well as a weekly update on religious publishing, so for free, I'm pretty happy to find out daily publishing industry news. I'm not going to read the book reviews or want ads or other stuff in the magazine anyway. The only reason I'd read the book reviews -- required reading for librarians -- would be to see if they've reviewed anything from any of my clients.

So BEA is going on now, the big U.S. booksellers' convention, and today's religious publishing update comes in, and the lead story is that my biggest client has no presence at this year's BEA. Decided not to go. Couldn't get any of the big-name authors to commit to being there, so they decided to punt. I'm thinking, this ain't good.

About three hours later, I get a call from my managing editor pal at the publishing house, wanting to know if I'd take a proofreading job. The kicker is that I copyedited this book a few months back (and actually complained about it in this very space).

Now, folks, having the same person copyedit and proofread a book is virtually verboten in the publishing world. Separation of duties and all that. There's some accounting/auditing equivalent that I should remember from my days of writing accounting textbooks, but don't. But basically the division is put in place so that the proofreader doesn't just miss the same stuff per missed at the copyediting stage, or that per avoids marking stuff as a proofreader to keep per from looking like a bad copyeditor.

So I ask my pal, "Proofreading? I copyedited it. What's up?"

Pal says, "Everyone else is busy. We've got all our other copyeditor/proofreaders busy with other projects."

So on the one hand, they're not sending a soul to BEA; on the other hand, they're so busy that they are breaking one of the cardinal rules of print production.

Hell, maybe they don't need BEA this year, so why not save the money? How nice that must be.

I've long forgotten the details of this book anyway. And I won't mind pointing out my own errors. What good would it do me to cover up my copyediting errors with missing stuff as a proofreader?

So, here it comes back, one of the worst projects I've done this year. At least it's volume 2, which is shorter and not quite as obscure as volume 1. From what my pal told me, the indexer is complaining mightily about the book. I think I mentioned in this space that I told the managing editor back when I was copyediting it that there was no way I would index this book. No way in the world. And it probably would be about a $3500 paycheck. But for that $3500, it would have been about $100,000 worth of pain.

My Farewell Column to Bill Shipp

http://blogs.ajc.com/political-insider-jim-galloway/2009/05/19/bill-shipp-types-30/ (Beware the inevitable troll-like comments.)

http://www.blogfordemocracy.org/poli/2009/05/farewell-bill.html
-------------------

Bill Shipp came into my life personally in the last quarter of his career, and in the early to middle stages of mine. As a freelance copyeditor and proofreader working for almost all of Atlanta’s business and political periodicals in the mid-1990s, I received a call one day in 1997 from Tim Bentley, another great and unfortunately late-too-soon Georgia political journalist, saying he’d heard Bill Shipp needed an editor, and could he pass my name along?

Me? Work for Bill Shipp? Pinch me, I’m dreaming. Having lived in Atlanta since 1977, I was more than familiar with Mr. Shipp’s work. (And I called him “Mr. Shipp” for years before he invited me to call him “Bill.” I was just raised to talk to my elders that way, especially one as esteemed as he was, yet I know he didn’t stand on formality. That’s just how it went.)

So I’m sitting in the DeKalb County Public Library near Northlake one day, and my pager went off. I found a public telephone (remember those?) and dialed the number. Bill Shipp’s number.

“Bob, I heard about you. My editor just quit, and I need someone to read my columns and newsletter. I don’t want just someone to check grammar. I need someone who will tell me when I’m off-base and tear up my writing when it needs it. Can you do that for me?”

Pinch me.

Off we went. Via fax and e-mail. The very occasional phone conversation. For 12 years. I worked with him anywhere from two to four days a week, 15 to 60 minutes at a time. I believe I met him face to face exactly three times: twice very early on in the parking lot of Channel 5 when I was working on his book The Ape-Slayer and Other Snapshots and once with my wife Tere and his daughter Michelle about two or three years ago at a restaurant in Kennesaw.

My life for the last 12 years has been the steady drumbeat of Sundays and Thursdays, editing his columns before they were distributed to his syndicate. And Bill Shipp’s Georgia before it became Matt Towery’s property. And his columns for Georgia Trend. And the every-so-often special-occasion piece.

When I started using a laptop, I’d take it with me, mostly so I didn’t have to miss a column if I was traveling somewhere. If I didn’t get the column, I’d write to his assistants over the years, concerned that I’d missed something or, later, concerned about him.

Bill was a unique writer in that he had absolutely no fear of the editing process. Just the opposite. Some years ago, if I went for, say, 4 weeks without bleeding all over one of his columns — in some cases rewriting or trying in my own clumsy prose to say what I thought he was trying to say or even should have said — he’d call me up and give me a hard time.

“I’m not paying you just to pass over these columns. You need to tear them up more often than you have been. I know they need it.”

But they often didn’t. So what’s a poor editor to do, given good material?

Bill’s political leanings were hardly concealed. And in the days after the Republicans took over Georgia, his voice became more noticeable. Every once in a while, he’d pen some piece that seemed a little too moderate, too conciliatory. I’d email him and ask what was up? His response: “I’ve got to write one of those every so often so my newspaper editors don’t think I’m a communist.”

Then the email hits my account today that Bill is hanging it up. Effective immediately.

I want closure, a different kind anyway. I want a farewell column. I want the dean of Georgia’s journalists to give one last wave to the first rumblings of integration in Athens while he was a student, Billy Graham, Zell Miller, his dear departed son Ernie and wife Reny, Jimmy Carter, Ernest Vandiver, Tom Watson Brown, Lester Maddox, Romeo Richardson, the AJC, the Talmadges, Roy Barnes, Mike Bowers, Tom Murphy and a hundred others. Even Sonny Perdue. I want the perspective of history. I live in Virginia now, but Georgia still feels very much like home, and a big reason for that is Bill Shipp.

I’d have worked for him for free (although I don’t think I ever offered), but now I’m feeling a far greater loss than the monthly, promptly delivered check. He was no doubt my smallest regular client measured by dollars, but dollars are an entirely insufficient measure of the last 12 years.

Mr. Shipp — Bill — thanks for taking me along for the ride.

index entry of the day

Clarke, Kent

personal interlude

My work comprises, on many different levels, ongoing battles with matters theological. My life, to some extent, has gone the same way, and from a much earlier age. I'd even say the personal theological battles predated by some years my introduction to the standard canon of proofreading symbols, which occurred at about age 14.

I visited a Unity church today. Very, very interesting. And I will leave it at that.

Extension Course Correspondence

Just received the following email:

Sent: Tuesday, May 12, 2009 2:27 PM
Subject: Question

I was pleased to stumble upon your blog. After earning an M.A. in English in 1999 and being a stay-at-home mother for the last 10 years, I am contemplating taking courses through Berkeley Extension in order to become an editor. I have no prior editing experience. Do you think I'll be wasting my money ($2000 for a four-course certificate) given how difficult it seems to be to get employment in this field?
Thanks!

---------------

My response:

Thanks for reading the blog. I hope you found something in there worthwhile.

I'm not sure that it's impossible to get employment in this field, although times are tough all over. But with improvements in self-publishing and the huge amount of website content that companies must have written, I'd say a lot more is being written and published these days than 10 years ago. It's a matter of finding people and companies that recognize the value of editing.

With an M.A. in English, you presumably have pretty good editorial skills already (which I can also see from your email). I'd be curious about the course content. Would they be reviewing style manuals, editing for different types of publications, marketing . . . or just reinforcing what you already know about where the commas go and when you should use semicolons?

Here's a question to ask yourself: Do you think potential employers would be any more likely to hire you seeing that you've taken an extension course in editing? There are a lot of laid-off editors out there with experience. And $2000 is a lot of money.

Not knowing any more about your background than what you've told me here, and not knowing what part of the country you're in -- particularly whether you're near a big city, where the need for editors is always greater -- my guess would be that if you spent the time you'd take in completing the course in trying to develop contacts for whom you could apply your editing skills, you'd probably end up with clients quicker just by putting your thinking cap on and being really creative in considering who you can hawk your skills to than by taking the course.

Because even after you've spent that $2000, you still have to find the clients. It's Step One in either case. The course would be a prelim.

Have I answered your question? And remember this is just one person's opinion. I'm sure you're not going to make the decision based on my input. Check around. Ideally you can find some people who have been through the course and see if it helped them.

Best of luck. Let me know how things turn out.

---------------

Agree or disagree? Talk amongst yourselves.

Cognitive Decline, parts 1 and 2

Two things.

Perhaps my longest-term client, other than a former employer of mine who has used me as a freelancer since I went freelance, is a syndicated newspaper columnist. Per has been an editor and a writer since before I was born and is rather esteemed within per's own geographic niche. Suffice it to say that when you've been doing something for 50-something years you're (a) pretty good at it and (b) probably pretty well respected as a result. I think of Count Basie who, when asked about perfection, said something along the lines of, "Find something you like to do, do it well, and keep doing it for about 70 years." I guess he was talking about himself, the master of the well-timed, sparse note.

Sidetrack: Back in my younger days, I was ridiculously shy around females. I used to blame that on being educated at a boys' school for 8 years, but the problems were elsewhere -- like in the mirror and inside my own head. It took me many years to stop blaming my parents' choice of school for me for my own social backwardness. Anyway, when I was in college, the Count Basie Orchestra -- with Count Basie -- was playing at a high school about a block from my college. Ohmygod. For like six bucks. This says as much about the lack of appreciation for jazz in the late 1970s as anything else. So I get up the nerve -- and trust me, it was virtually impossible for me to do -- to ask this really cute girl in my philosophy class if she wanted to go with me to see Count Basie. I'm not sure she even knew who Count Basie was, or how amazing it was that he was going to be within walking distance of the school. She didn't give me an answer right then, but the next time the class met, I followed up and asked her if she'd decided, and she said, "No, thanks." No explanation, no apology. Needless to say, this response did not do much for my already long-cratered self-esteem. Well, I went anyway (alone), enjoyed myself, and she ended up dating the head of the college's Young Republicans chapter. Maybe she knew something I didn't.

Back to the story. So, this columnist loves it when I tear up per's work. This is what the good writer-editor relationship is about, class. Per used to give me a hard time if I went too long without essentially rewriting one of per's columns. On the first anniversary of 9/11, I told per I didn't like the column per had written. Per suggested I write one. So I did. Per submitted it to the syndicate (about 100 papers, I believe), saying that "I wrote a column for this occasion, but my editor Bob Land didn't like it. So here's what he wrote instead." That was the beginning of the column. And thus it was that I am on record during the week around 9/11/2002 essentially stating that, "Hey, guess what, folks? We're probably not going to change as a nation as a result of last year's events. We're going to end up being the same self-centered, self-absorbed jerks that we've always been. And besides that, not everyone who was killed on 9/11 was a saint. Just by the law of averages, there were probably wife beaters and child molesters among the 3,000 dead who we might as well be better off without." Per got more than a few positive reponses to that column. If per ever got any negative responses, they didn't find their way to me.

Am I back to the story yet? So, I've torn into the last three or four of per's columns pretty drastically. I receive a (very rare) call from per this morning, with per asking me very sincerely if I think per's lost the cognitive ability to continue working. Per's got some health issues, lost a spouse within the last few years, etc. Per's asking me if per still has what it takes? Who the hell am I to judge? Per's got more chops than I'd ever know what to do with. But per also respects the value of an editor who will wield a heavy hand when necessary, and per said, "If you think I can't do this anymore, let me know. I don't want to go out after my time has passed. I realize I'm not going out at my peak, but I don't want to be doing this too long either." I was humbled and honored and amazed and saddened and felt a little bit lost after the conversation. I guess I still feel that way.

Cognitive decline, part 2: My own. I've gotten into this thing lately that many days, when I wake up in the morning, if I lie in bed a little while -- not even in a half-asleep state, but pretty much awake -- I start having literal visions of the manuscript I'm working on, but the words are all wrong. The topic is right, but there are all kinds of problems with the book that don't necessarily exist in real life (that is, in the bunker, where the manuscript is residing). The words are a jumble, the language is wrong, it goes off track repeatedly. Needless to say, this doesn't provide me with any extra restful moments, so all there is to do is go downstairs and get back to work.

This hasn't happened once or twice, class. It's, like, dozens of times now. I don't know what it means, but if I had to put it into the good or bad side of the ledger, umm, I'm thinkin' bad.

Easy Pickins

Yeah, I know that pointing out typos can be amusing and fun, and I've sent out any number of pieces of correspondence and probably blog postings that have typos -- my worst was about 12 years ago, sending out a flyer referring to my editiorial services (last-minute change, forgot to spell-check: lesson learned = no more flyers) -- but I can't resist posting this gem, which I just saw on a writer's blog:

Nothing kicks a writing pro in the teeth like writing something which does not communicate what you indented.

I happened upon a blog the other day that was nothing but pointing out typos in newspapers and screen grabs . . . and then going on for hundreds of words about each of them. Boring.

Is This How Bad It's Getting?

Here's an email exchange I've had over the last few days with a fellow freelancer. I think now I've heard just about everything. You have to read all the way to the bottom for the punchline.

*****

----- Original Message -----

From:

To: landondemand@bvunet.net

Sent: Monday, April 20, 2009 9:00 PM

Subject: request

Hi, Bob, I wonder if it would be possible in the future for you to pay me 10 percent of any indexing jobs I send your way. I am paying more and more fees to people who refer work to me; that's why I ask? Would you be comfortable with that? Many thanks,

*****

From: Bob Land

Hi.

In the circles I travel in, I've never been asked to pay referral fees, nor do I ever ask for fees to be paid to me. I've referred a lot of work to typesetters/book designers, mostly, but to a few editors and writers, too, and they've referred a lot of work to me. And I think we've all just figured that what goes around will eventually come around. Referral fees have never come up.

Having said that, if you wanted to talk to me up front and ask me my indexing page rate (for a standard 6x9, one-column job, that would be $3.50), then turn around and tell the client that my rate is $3.85, I'd bill at $3.85 and send you the difference, which would be the 10 percent you are seeking. Of course, we run the risk of losing on the business because of a slightly higher rate, but that's just the risk involved.

I guess what I'm saying is, if you can sell my services at a 10 percent mark-up, I'm happy to pay you the difference. However, if anyone bothers to find me on the Internet, they'll see my rate sheet there and wonder why they are paying more than my standard rate, and then it falls back on us to explain why.

Bottom line: the idea of referral fees coming out of my basic pay rate isn't one that I'm wild about, but if we can charge it back to the client, I have no problem paying the difference to you as a finder's fee.

Thanks for asking.

Bob

*****

To: Bob Land

Sent: Tuesday, April 21, 2009 9:10 PM

Subject: Re: request

I understand 100 percent. I'll keep your idea in mind about the markup.

People who sub out to me mark up routinely and have for many years. Now, several publishers I get referrals from are asking for 10 percent and they're coming out of my normal rates.

THANKS.

*****

From: Bob Land

PUBLISHERS??? I have absolutely no response to that that I can repeat in polite company.

*****

Folks, I have publishers hook me up with authors probably 6-12 times per year for indexes. Many publishers just leave it up to authors to generate their own indexes, and the smarter authors, as I've mentioned before, stick to what they know: their area of expertise. They ask the publishers for referrals to indexers, and that's one way authors find indexers.

I cannot even imagine what my response would be to a publisher who asked for a referral fee for sending an author my way. That a publisher -- a publisher, for god's sake -- would ask for a referral fee from a freelancer? I think that falls somewhere in Merriam-Webster's 11th Collegiate under extortion. Or kickbacks? Help me out here, class. I am at a total loss for words . . . words that I would print on my blog, anyway.

Careful What You Wish For

Talk about a bummer. Don't judge a book by its summary, not when you've been given it to work on, anyway. Because work somehow turns out to be work.

A few days ago, I was pretty happy with the summary of this book I'm working on. I'm about 90 percent done with it now. Aside from those topics listed in the previous post, the book also relies heavily on Breakfast at Tiffany's, Invasion of the Body Snatchers, and some other pretty cool topics.

Problem: author, with some press complicity, I feel, has managed to put into production a manuscript that still needs a hell of a lot of work.

OK, class. Today's lesson is MLA style. MLA, I believe, is the Modern Language Association, or maybe it stands for More or Less Authorlike. Because that's often what I get when I receive a manuscript that's been written according to MLA style: authors who know how to put words together but who fall down on the job when it comes to things like organization or documentation.

Case in point. In MLA style, you generally use a short in-text citation that refers to a complete list of Works Cited at the end. In the hands of a fifth-grader who knows how to follow the damn instructions, this task should be easy enough.

The sentence goes on like this and you get to the end, where the reference appears (Land 23). "Land 23" means that I am citing page 23 of the book or article by Land, which in this case happens to be titled, "Why Authors Are the Bane of the Publishing Industry." If I happened to have two items in the Works Cited and the other one was a book titled Why Can't PhDs Compile a Decent Freaking Bibliography? then the original reference would appear as (Land, "Why Authors" 23).

So, you cite a book in your chapter, you list the book in the Works Cited. Easy enough.

Except per has cited no fewer than 50 books in per's work that don't appear in the Works Cited, which means that per's gonna spend a lot of time pulling books off per's shelves and recording bibliographic information (or missing page numbers [grrrr]) before per can send this book back to me. Then I'm gonna have to copyedit all the references that my time would have been better spent copyediting on the first pass. Because half the time, they can't get the style right, either.


Other side of the coin: Works that appear in the "Works Cited" when they don't appear in the text at all. My solution is to call the damn thing a Bibliography, which might comprise Works Cited and Uncited. A lot of publishers want there to be a one-for-one correlation, though, and don't often agree to the Bibliography heading.

Another problem with this book. Per has left in the book summaries of the entire book that don't match the book's content. Here's where I blame the press, since I don't give authors much credit for the authoring they do. Why didn't someone at the press pick up on the fact that of the five chapters the author describes, not only are they all out of order, but the damn chapter on serial killers isn't even mentioned? If there's a demographic I don't want to inadvertently make mad, serial killers come at the top of the list.

(The book does bring up an interesting point about serial killers though. Just like there might be nonpracticing Jews or nonpracticing Catholics, there might also be nonpracticing serial killers out there. Now that's a comforting thought. Reminds me of an old Onion article: "Neighbors Remember Serial Killer as Serial Killer": "Oh, yeah, he was always bringing home nurses and chopping them up in the backyard. . . .")

Where was I? Oh yeah. Well, never mind. It's 2 a.m., and I'm going to try to get as close as I can to finishing the copyediting before bedtime. Then it's a full day of word processing -- mostly queries for the author. And since it's the end of the term and all the students will be going home, per's gonna have to do all the work perself. Poor, poor per.

"Don't ever tell anybody anything. If you do, you start missing everybody."

"Keep your own counsel. Don't draw any conclusions from anything you see or hear."

Blind Pig Finds Acorn

How much have I complained about the subject matter of the books I read? Well, I might have a winner here. From the introduction:

The five chapters thus examine five diverse and highly distinctive narrative genres which manifest the cultural history of authenticity: the literature of adolescence [with a focus on Catcher in the Rye, for better or worse one of the basic texts of my own adolescence], the narrative discussion of depression, the serial killer genre, stories of mid-century Jewish assimilation, and the narratives of corporate manners.

Now if this book lives up to the promise of this sentence, I have a few pleasant days of reading ahead of me. If the author goes all academic and takes all the fun out of it, then fifs on per.

Can I complain? Of course I can complain. The manuscript is in 10-point Courier, 1.5 spacing; MLA style; and a gazillion references to look up in the Works Cited.

But how often do I get any of the following: Holden Caulfield, depression, serial killers, Jewish assimilation, and corporate manners? And all in the same book? Pinch me, I'm dreaming.

Proofreading? Priceless

Found this gem today on a publisher's website:

------------

Proofreaders are responsible for correcting grammatical and typographical errors in our books prior to publication. The ideal candidate will have the following skills and experience:

* Prior experience proofreading copy
* Excellent attention to detail
* Ability to meet tight deadlines
* Total commitment to quality
* Exceptional knowledge of grammar

Proofreaders are paid in complimentary copies of the books they proofread. For consideration, please send your resume. . . .

---------------

Guess what? They're looking for proofreaders. Now, why would you think that is?