Copyediting course

SPARE SYLLABUS 

"Week 1 (October 6): Will cover what indeed is copyediting, how does it work, how does one do it, and what happens when one does it badly? it doesn’t work? We’ll discuss talk about everything that a copy editor gets up to while making their way through copyediting a manuscript, augmented by with (discreet) real-life war and stories to illustrate, among other things, that the first rule of good copyediting is: to Listen.

"Week 2 (October 20) will cover you’ve ever wanted to know about the rules and nonrules of good prose, plus highly detailed information covering all manner of things from semicolons, to well-constructed possessives, from brackets, to the styling of non-English material, from pet words, to inadvertent rhymes, from the treatment of numbers, to how to navigate your way into and out of a and flashbacks. 

"Week 3 (October 27): Everything that didn’t get covered in Week 2—because there’s a lot to cover!—plus will cover in-class analysis of great writing and how and why it works: texts will include Charles Dickens, L. Frank Baum, and Russell Hoban, Edith Wharton, Shirley Jackson, and the great Peg Bracken. 

"Week 4 (November 3): How is written language changing? How What are our obligations to keep up with it, guide it, take the lead in evolving it, and how to skirt What are the direst, scariest pitfalls, and how do we skirt them." 

ENTHUSIASTS SYLLABUS 

Week 1 (October 6): What indeed is copyediting, how does it work, and what happens when it doesn’t work? We’ll talk about everything that a copy editor gets up to while making their way through a manuscript, augmented with (discreet) real-life war stories to illustrate, among other things, that the first rule of good copyediting is: Listen.

Week 2 (October 20): Everything you’ve ever wanted to know about the rules and nonrules of good prose, plus highly detailed information covering all manner of things from semicolons to well-constructed possessives, from brackets to the styling of non-English material, from pet words to inadvertent rhymes, from the treatment of numbers to how to navigate your way into and out of a flashback. 

Week 3 (October 27): Everything that didn’t get covered in Week 2—because there’s a lot to cover!—plus in-class analysis of great writing and how and why it works, from Charles Dickens, L. Frank Baum, and Russell Hoban to Edith Wharton, Shirley Jackson, and the great Peg Bracken. 

Week 4 (November 3): How is written language changing? What are our obligations to keep up with it, guide it, take the lead in evolving it? What are the direst, scariest pitfalls, and how do we skirt them? 



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