Land on Demand Editing Proofreading Indexing: Guest Posting 1: Magazine Editing

What It Is (posts below left; rate sheet, client list, other stuff below right)

My name is Bob Land. I am a full-time freelance editor and proofreader, and occasional indexer. This blog is my website.

You'll find my rate sheet and client list here, as well as musings on the life of a freelancer; editing, proofreading, and indexing concerns and issues; my ongoing battles with books and production; and the occasional personal revelation.

Feel free to contact me directly with additional questions: landondemand@gmail.com.

Thanks for visiting. Leave me a comment. Come back often.

Tuesday, October 11, 2011

Guest Posting 1: Magazine Editing

I have encouraged friends of mine who read this blog and those who don't to send me their publishing horror stories, and I'd print them as guest postings. Sort of a gift of therapy for my embattled peers laboring in the ditches.

Forthwith, a posting from one of my nonreaders.

Enjoy. Or at least commiserate.

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I edit a lifestyle magazine that covers life, work, and recreation -- about a half dozen little villages/communities.

All editorial was due to me by October 7 for copy editing/review, in order to make deadline for a November 1 publication date.

I woke up this morning to an email from a writer saying she sent her piece to the two folks she interviewed to check facts. I ALWAYS discourage writers from doing this. We are not an advertorial magazine and it’s my job to check facts, dates, spellings, etc. You know the score . . .

Anyway, she says to me that George was fine with it but Ringo basically rewrote it with more information and sent to her. Since she “liked” his version better, she decided to send it to me and hopes that’s okay.

My response:

Please don’t allow the interview subject(s) to guide your writing. IF we agree to send them a piece to review, it is to proof for factual information only, not word use, writing style, or what to include or leave out. You are responsible for those decisions, not Ringo, because you are the one being paid, not him. The only other person who can mess with your work is your editor, the person who guides the angle of the article and the content of the magazine’s editorial. In this case, me. And I’ve always been happy with your work. I’ve never had to bump anything back to you because it was incomplete or poorly written. Word limits mean just that: there is a limit to what we can write on any given subject, and you as the writer and I as the editor have to make choices about that. This topic could be a BOOK, I’m sure, but that’s not what we’re doing here.

I cannot tell from the piece you just sent me which work is yours and which is Ringo’s, so I can’t make any decisions about how to handle this. If you believe that some of his additional information is imperative to the piece, then by all means amend YOUR original article and send it along, using your own words to interpret Ringo’s, just like you would do if he had said this to you in an interview. If you don’t have time to do that by mid-today, then send me your original piece, as written.

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My pal closed the missive to me with a number of expletives. Can you blame?

Feel free to send me your stories. The blog needs different perspectives.

Especially you managing editors out there. I'd love a post on what a pain it is to deal with freelancers. I'll even allow stories about myself . . . as long as they end up with the necessary spin that will not scare off potential clients. I'm crazy, but I'm not stupid.

5 comments:

moi said...: When I first started freelance writing 15 years ago, sources never asked to read an article before it went to press. It was assumed that the writer knew what they were doing and that the magazine had fact checkers as a back up. But as writing devolves in quality and the line between feature and advertorial blur, I can't say I blame anyone who speaks at length to a writer for being gun shy.

That being said, if asked, I politely explain why I don't allow anyone to "proof" my work other than my editor. If they insist, I give them my editor/publisher's number and let them take it up and I exit the game at that point.; October 13, 2011 at 7:49 PM
Aunty Belle said...: for touchy official-ish reasons I have on occasion permitted a few subjects to see what I wrote on a tender topic --but confined to a paragraph. The text remains in mah own words, but if the facts need better context I'se guilty of changin' mah piece to suit the interviewee, retainin' mah own context fer further arguments in the NEXT paragraph if I'se fiesty that day.

When one snooty subject reminded me that I'se not the expert, that he wuz, I responded, "uh huh, an' thas' why they pay me to write this article, not you--on account of mah ignorance doan know what's off limits so it ain't jes' another airy puff puff of yore ego."; October 14, 2011 at 4:47 PM
czar said...: I love hearing from actual professionals.

Welcome back, Aunty. Glad you made it through customs.; October 15, 2011 at 7:41 AM
moi said...: @Aunty: "Airy puff of yore ego." Yes!

@Czar: I should have qualified my post to read: "I don't allow anyone who isn't paying me to proof my work." As you know, advertorial writing and work-for-hire is a whole nutther ballgame.; October 15, 2011 at 8:29 AM
Aunty Belle said...: Howdy...hope thar's a little spare time in yore weekend--pleeeze come paly--Haiku theme is announced.; October 22, 2011 at 9:18 AM

Rate Sheet

Bob Land's Rate Sheet

Note: Different rates may apply for self-publishing or overseas authors.

Copyediting—Take the word count of your manuscript and divide it by 265. That's a billable page. Remember to include footnotes/endnotes in the word count.

Electronic edit—edited files returned to publisher/author: $5+/page

Marked-up manuscript returned to publisher/author for keying changes—$5.25+/page

Typical turnaround time: 3–4 weeks from receipt of manuscript

Substantive editing—See above for determining page count.

Electronic edit—edited files returned to publisher/author—$6.25+/page

Marked-up manuscript returned to publisher/author for keying changes—$8+/page

Typical turnaround time: 3–4 weeks from receipt of manuscript

Higher editing rates apply for material that requires extensive rewriting or that includes complicating elements, such as massive reworking or cross-checking of documentation. Technical manuscripts (legal, medical, etc.) also subject to higher rates.

Contact me for bids on work if English is not your primary written language.

Indexing—Based on a 6x9 page; other page sizes adjusted proportionately

$5+/indexable page

$6+/indexable page for biographies and military histories

Typical turnaround time: 3–4 weeks from receipt of page proofs

Proofreading—based on a 6x9, one-column page; other page sizes and formats adjusted accordingly

Cold read—$2+/book page

Read against manuscript—$3+/book page

Typical turnaround time: 14 days from receipt of page proofs

Rush fees

Editing 25 percent surcharge for 8- to 14-day turnaround; 50 percent surcharge for 7-day turnaround

Indexing 25 percent surcharge for 7-day turnaround; 50 percent surcharge for 4- to 6-day turnaround

Proofreading 50 percent surcharge for 5- to 7-day turnaround; 100 percent surcharge for 3- to 4-day turnaround; if you need it faster than that, we can talk

I can accept hard copy sent to the address below, or PDF or Word files emailed to address below.

Copying fee (for example, if you want me to keep a copy of work that I’m sending): $.06/standard page.

Shipping charges paid by publisher/author. Preferred method is for publisher/author to provide shipping account number (FedEx or UPS); alternate: billed with final invoice.

All invoices payable upon receipt. 30 percent payable at start of project/task for new clients or self-publishing authors.

Brushes with Fame

1. An old friend had to remind me of this one, because he remembers more about my life than I do. When I was a youngster, I threw up on Johnny Carson in an NYC theatre. Would have been in the early 1960s. I have no recollection of the event, but from what my mother said, he apparently handled it well.
2. The family went down to Plains, GA, maybe around 2004 to sit in on Jimmy Carter's Sunday school class. Afterward people could line up for a photo op with the president and Mrs. Carter. As we were in line, Tere (my wife) said, "I'm going to give him a kiss." I responded, "Wonderful. I'll catch up with you after Secret Service breaks your kneecaps." As we stepped up to pose with the Carters, my darling wife, never a wallflower, leans over and pecks him on the cheek. He just smiled and said, "Right on!"
3. Backstage with Stanley Clarke, after Return to Forever performance, Atlanta, 8/2/2008. See photo below.
4. Internationally acclaimed artist Thornton Dial was bribed fifty dollars to let our family give him a ride home; Birmingham to Bessemer, AL. Dial is justifiably suspicious of white folks he doesn't know; actually, I might have to say that's one thing we have in common. I'm always happy when going to a party to see a good dog to engage in proper conversation.
5. Gave a very drunk John Fahey a ride to an Atlanta airport hotel after a depressing performance, during which he became progressively more wasted on stage and basically just babbled more than playing guitar. Among his comments were that his father-in-law offered to give Fahey some money if his wife (the guy's daughter) would lose some weight. The sight of seeing the slump-shouldered Fahey shuffling into the hotel carrying his guitars haunts me still.
6. Lunch with Jane Fonda at Bulloch House, Warm Springs, GA, the morning after she filed for divorce from Massa Ted. The first time I saw her was when she stepped out of the back of the car she was sleeping in at the home of a folk artist we were both going to see: the Prophet Jesse Marshall. (She had apparently been up all night.) Bulloch House is a southern-style buffet, which La Jane took to right away. No healthy eating there. She was quite angered when they removed her plate from the table while she had stepped away before she had a chance to finish what she'd put on there to begin with. After spending some time with our two boys, she offered to adopt them if ever anything happened to my wife and me.
7. Garrison Keillor rode in my car; spoke with him later at apres-performance dessert party, Abingdon, VA. Keillor was invited (paid) to give a fundraising performance at Barter Theatre, the state theatre of Virginia, where my wife works. They needed a big vehicle to pick up Keillor, so they borrowed my Chevy Tahoe. Quite tall Keillor apparently sat in the way back and spoke on the cell phone the entire time (I was not invited to be in the car to pick him up). For a while we could say that our car had his DNA in it, but then we traded it in on a Prius, which gets 48 miles a gallon -- a whole lot better value than having a car where Garrison Keillor once sat. He was very nice after his performance, though -- apparently totally against type. I told him that A Prairie Home Companion used to save my Saturday nights in the early '80s when I was working at the printing plant.
8. Physically bumped into Jack Nicholson upstairs at Sardi's -- the famous Broadway theatre district bar -- 1977; the occasion was an "audition" (that is, a fundraiser) for a play that some folks were trying to get produced. The playwright and composer and two of the leads they had cast were there performing all the songs. Maybe 20 people were there, sitting in folding chairs gathered around the piano. One of the songs was a little ditty called "Tomorrow." The play ended up being Annie. Why, as a 17-year-old, I was invited to this gig is far less interesting, but one of the oddities of my life.
9. A very slight brush. Back around 1978 when I was in college, some friends and I traveled from Atlanta to Huntsville, AL, because, before transferring to school in Atlanta, one of my friends had been instrumental in arranging for Hunter S. Thompson to give a talk at the University of Alabama at Huntsville campus. Because of my friend’s remaining connections at the UAH campus, we knew when Thompson’s plane would be arriving, so we prepared ourselves properly to meet him at the airport—kind of the unofficial welcoming party. So we are positioned in the concourse and see Dr. Thompson’s unique stride coming toward us (along with the official welcoming party of two or three students). There are three or four of us unofficial types—longhaired, eyes glazed, and mostly in awe. My friend says in his most cultured tone, “Ah, Dr. Thompson,” at which point we begin genteel applause, as if we are at a ladies’ tea party or piano recital. Thompson takes one frightened look at us and darts into the airport bar. We follow, and take up our spots at the table next to him and his minders, trying to glean what we can from the conversation, which is virtually impossible, because even at his best, Thompson speech is mostly incomprehensible. After about 15 or 20 minutes, Thompson gets up to leave, stops by our table, and says, “Sorry. I thought you were some of Wallace’s boys,” referring to former governor, presidential candidate, and opportunistic segregationist George Wallace. Looking at us, you would have hardly associated us with Wallace supporters, but we were happy for the moment of attention and humor from the good doctor. When we saw him the next day giving his talk for the students, I’m not sure I understood one of every 10 words he said, but as a brush with fame goes, the trip was well worth it.
10. Added starter: Once when I was ushering at the Fox Theatre in Atlanta (early 1980s), I heard the Grateful Dead perform "Let It Be" for their sound check. Deadheads who've listened to thousands of hours of bootleg tapes assure me that the band never played that song. Well, maybe not during a concert, but I know what I saw and heard, performed for about 30 ushers and the guys at the sound board, who seemed to be more occupied with the lines of coke in front of them. Jerry Garcia and Donna Godchaux singing, if you're keeping score at home.