Date: November 1st 2004

HANDY JOB HUNTER FOR WRITERS
ISSUE #8 (November 2004)
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Compiled by Michael Arnzen, Ph.D.
http://www.gorelets.com

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Proofing Your Galleys Like a Pro
by Michael Arnzen

Any writer worth their salt already knows how to proofread. It's a necessary step in the self-editing process before submitting a manuscript. And anyone who neglects to proofread only increases their chance of being rejected on superficial grounds. Most writers are smart enough to know that they shouldn't expect a publisher's copyeditors to do all the "scut" work for them and they know that if a work makes its way to print full of typos, they really only have themselves to blame. The reader will likely blame the author, anyway, so who wouldn't want to check a piece for errors before it went to press?

But the way galleys (or "proofs") are handled by publishers has changed over the years, particularly given the increased reliance on the internet to exchange documents via e-mail. And new writers who have yet to publish a book may find the process strangely unfamiliar once they're mailed a set of proof sheets to correct. Having just copyedited the final galleys for my next dark suspense novel, Play Dead [ http://www.rawdogscreaming.com ], I found myself reflecting on the process of proofreading and I thought I'd share some anecdotal experiences and advice for writers who are either new to the process, or interested in picking up strategies for excelling at it. Lord knows I'm not perfect at proofreading -- indeed, I suspect this newsletter will have typos here and there that I missed -- but since such topics are rarely covered by popular "how-to" books in the writing industry, I thought it would make for a worthwhile discussion. Moreover, the galley correction stage is an oppo
rtunity to make a good impression on your editor, and if you work quickly and professionally, it will help cultivate your relationship and make them all the more likely to want to work with you again on your next project.

The urgency required in getting things done quickly yet proficiently is the first hurdle a writer has to deal with when correcting galleys, especially if they are for a whole book. Back in the early 1990s, when I was first getting started, I recall receiving an early printing of my first novel's layout by FedEx. I was thrilled to hold a preview of my novel, Grave Markings, in my hands -- to seem my dream of being a published novelist move one step closer to reality. But I was also a little daunted by the finality of it all and the unfamiliarity of the process. I knew that this might be my only chance to catch errors, and I also had to resist the urge to rewrite the book. I worried whether I could really proofread the whole thing -- almost four hundred typeset pages -- since I only had one week to hand-correct it -- and this was during a time when I was travelling to a convention. I was nervous about the irrevocability of it all -- and the contractual obligation to pay for any
changes I made if they comprised 10% or more of the text was somewhat frightening. The level of attention to detail this task required, under the pressure of a short deadline and the impetus to resist major changes made me a little weak in the wrist as I held my red pen. I recall chatting about this anxiety with another Dell author at the con, a much more experienced writer who I admired greatly -- Dennis Etchison -- who looked me in the eye and put it simply: "Oh, it's no sweat. You can do it. Hell, you can do it in a day if you have to. And someday you might have to." That stuck with me. Not just because it boosted my self-esteem to hear that a writer I respected believed in me. It was the way he said it. As if this is simply something that writers do. And he was right: if you can get a book to the galley stage, then you're probably already something of an expert in editing.

Marking up the galleys themselves really isn't difficult. You'll be tempted to use a pencil, but I recommend committing with a pen. Pencil marks fade and erased penciling always make the typesetter wonder if you really intended the correction or not. If the manuscript or galleys arrive with a first round of editorial corrections already scrawled on the page, choose a different ink color than the editor's (and note on the cover page some indication of which color is yours (e.g., "blue=Arnzen")). When you hand-edit a printed galley, be consistent in the way you write them on the page. Write horizontally rather than vertically. Make changes in the margins, rather than shoving text in between the lines; use a carat (^) beneath the line where insertions are to be made. Remember that it's easier to delete text than to add it. Deletions will rarely incur typesetting charges. Additions could push you over that 10% maximum. If you need to add a passage, type it out and add a pointer t
o the extra page where it should be inserted. Usually these additional pages are numbered by adding a letter to the page number of insertion.

If you're working with the increasingly popular "electronic galleys" -- typically an Adobe Acrobat (.pdf) file, sent via e-mail -- you will be tempted to read on screen and type out your corrections in a separate document. I recommend that you print out the electronic galleys and make hand corrections, then type out the changes to e-mail back to your publisher. While this is a little burdensome (and you have to pick up the printing cost), you'll be able to proof on the run and you will probably catch more errors on the printed page than you would if you were scrolling around on a computer. You can "bookmark" places when you take a break. You'll also have a fixed, permanent record for your archives (more on that later). When you type out your changes, give every change a brief heading, or reference slug. I mention always page number and paragraph number (assuming that the text at the top of any given page "counts" as a paragraph, even if it is only the latter half of one). Som
etimes -- and always with poetry or other non-standard formats -- if I want to be very specific I will refer to the number of lines down the page or up from the bottom of the page where I want a change to be made. With a book, I might also include the chapter title/number. It is a good idea to contrast what is given against what you want to appear (e.g., "pg. 10, para 3, line 11: "over-the top" should read "over-the-top"). Chances are good that your publisher will run a "find and replace" in their editing software, and you want to be clear about what they should be "finding" and accurate about not only what changes are to be made, but where they are located.

When scanning page proofs, you often can't make any major changes, but you should be on the look-out for more than just a misplaced hyphen here or a stray comma there. Look for any potential stumbling block that might throw a reader off. Sometimes commas can replace dashes; sometimes ellipses can simply end with a period; sometimes a simple sentence added to a paragraph can clarify a vague idea. Put on your editor's hat, and read it like you were Joe Schmo on the street. Read slowly. The mistakes will pop out at you. If you're having trouble concentrating at the sentence-level -- getting swept up, no doubt, in the awesome flow of your prose -- then try reading the manuscript backwards, sentence by sentence. You'll learn a lot about how much one idea hangs on the peg of another one in the piece, and this might frustrate you, but it will also keep you focused on editing one sentence at a time.

If you encounter a questionable area, and you're not quite sure whether you should commit to a change or not, flag it with a sticky note, and keep reading. Give yourself permission to go read through it a second time and to rethink the hazy areas later. You can also always call the editor, or consult with a friend, or simply put a question for the copyeditor on a sticky note (or in your typed list of corrections, if doing this electronically), and they can decide about the final correction themselves. You probably won't get a "final final copy" of page proofs, but if you're ahead of schedule, or making an index as a separate document, it can't hurt to request one.

Proofing isn't just a matter of correcting text. Sometimes book designers, copyeditors, and those who layout text either make incorrect assumptions about what the writer intended, or else they don't think about the intentions at all. I recall hearing Ramsey Campbell once talk about how a copyeditor "Americanized" his British style to the point where the text didn't make sense, and the corrections he had to make to fix it were massive (beyond the limits of his contract). Sometimes a story or chapter can be placed on the page in a way that detracts from the story's impact, too. I've seen or heard of mistakes like chapter subheadings appearing on the bottom of a page, poems being centered to look pretty when they were originally left margin-flushed, and inconsistent use of chapter break marks. My colleague at Seton Hill University, YA writer Lee McClain, reports that her latest "Alt.lives" novel galleys had several paragraphs repeated verbatim, back-to-back, as though the typese
tter had accidentally pasted a block of text twice. Her typesetter also incorrectly assumed that Down Syndrome was supposed to read "Down's syndrome" and since one of McClain's major characters suffered from this condition, she had to painstakingly scan for every single change to switch it back.

It will save you headaches (and time) if you master the language and conventional approach of copyeditors. Not just superficially -- you should really study their work. When you first receive galleys, ask your publisher if they provide a house style guide, and if so, follow it like a bible. If they don't provide guidelines for copyediting, you should be able to find basic help in any of the major writer's reference books. But don't settle for hasty overviews. The Chicago Manual of Style has an excellent discussion of proofreader's marks (educator Mark Zobel provides an abridged summary online [ http://www.markzobel.com/home/student/guide/proof.htm ]. The proofreading section of the CMS is well worth a read for the insight it gives into the publisher's side of the equation, since many editors are trained to follow it. If you don't have access to the Chicago Manual of Style, some publishers keep copyediting guidelines online (a quick Google search turns up a good one at Northea
stern University -- [ http://www.neu.edu/styleguide/ ] and there are plenty of writer's reference sites online (for example, JustWriteNow.com offers a free handout of copyediting and proofreading symbols in Adobe .pdf format -- [ http://justwritenow.com/downloads/JWedit_symbols.pdf ]). It helps, too, to see them put into action: look for an example of a copyedited page in writer's reference books (or ask a published author for an actual sample, if you're friends with one) so you can see how they're applied in a real world example. You might not have aspirations to become a copyeditor, but that doesn't mean you can't know their trade, particularly by hunting down instructional books, like the very insightful guide, The Fine Art of Copyediting by Elsie Myers Stainton (Columbia University Press, 1991), or Karen Judd's Copyediting: A Practical Guide (Crisp Publications, 2001).

You should put the most commonly used copyeditor's shorthand into practice in all your manuscript editing so that the style becomes second nature, regardless of whether you're doing it for an actual publisher or not. Use it for your own proofreading and put it into practice when critiquing manuscripts for workshops and colleagues. It'll ultimately save you time, since it's a code. It's much easier to write a number sign (#) than it is to write out the phrase "insert space here."

Save your corrected galleys in a personal archive. Make a photocopy for yourself if your publisher wants you to send the hand-corrected version back to them. Sometimes things get lost in the mail or during transmittal in the publisher's own house (it's rare, but this actually happened to me with the second corrected version of my manuscript at Dell -- they lost it in the copy room (yikes!) but luckily I had my own "backup" photocopy to resend to them. This saved me a LOT of stressful work and kept the printing on schedule). Keeping an archive of your galleys on hand -- whether electronic or hard copy -- gives you something of an "advanced review copy" you could provide reviewers or potential blurb providers in the future. Long term, hardcopy archives are important because you might reprint the manuscript with another publisher some day in the future, and it will be helpful to have those last minute corrections you made available to type back into the manuscript. (I had to do
this with the Tenth Anniversary Edition of my novel, Grave Markings [ http://www.deliriumbooks.com ], earlier this year -- the galleys saved me the trouble of comparing my computer files against the published pages of the book). Be sure to date the galleys before you stow them away, and go ahead and sign them: they're potentially collectable materials you might later sell on eBay or pass down to your heirs. That might sound awfully egotistical, but it's important to think about your literary property as a legacy of sorts. Although it's rare, I have personally been contacted by quite a few fans and collectors over the years who were looking to acquire hard-to-find documents I'd created -- "anything with my handwriting on it," in their words -- and old, autographed galleys fit the bill.

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UPDATE:
Those who are collecting these newsletters take note: the web archive includes a slightly expanded version of last month's article, "Branding Burns." You can always access the complete archives in case you missed any back issues or if you deleted an issue that you want to return to. The archive is available here:
http://gorelets.com/cgi-bin/mojo/mojo.cgi?f=list&l=writerjobs

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THE HANDY JOB HUNTER FOR WRITERS

key
± = new/revised entry
SF/F/H = Science Fiction, Fantasy and Horror
UK = England-centered
$ = requires fee or subscription
Likely Dead = website non-responsive

>>GOOD OVERVIEW TO GET STARTED<<
Writer's Guide to Finding Jobs Online
http://www.sunoasis.com/tutorial.html

>>JOB OUTLOOK FOR US WRITERS<<
Bureau of Labor Statistics on Writers/Editors
http://www.bls.gov/oco/ocos089.htm

>>CAREERS IN WRITING<<
WRC's Glossary of Writing Careers
http://www.poewar.com/articles/careerlist.htm

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>>JOURNALIST-ORIENTED<<

Power Reporting
http://powerreporting.com/category/Journalism_shoptalk/Jobs

Journalism Jobs
http://www.journalismjobs.com/

Job Link for Journalists (Newslink.org)
http://newslink.org/joblink/

Detroit Free Press Jobbank
http://www.freep.com/jobspage/

J-Net
http://www.journalism.berkeley.edu/jobs/

Journalism Net
http://www.journalismnet.com/jobs/

Media Bistro
http://www.mediabistro.com/joblistings/

New York Times Media Jobs
http://www.nytimes.com/pages/jobs/jobs_media/index.html

Society for Technical Communication ($)
http://www.stc.org/

Sun-Oasis Job Bank
http://www.sunoasis.com/

Nat'l Diversity Newspaper Job Bank
http://www.newsjobs.com/

JournalismNext for Persons of Color
http://www.journalismnext.com

NewsJobs
http://www.newsjobs.net/usa/default.asp

Nat'l Assoc of Broadcasting Career Center
http://www.nab.org/bcc/

Publishing News (UK)
http://www.publishingnews.co.uk/pn/pnc/index.asp

American Copyeditors Society Job Bank
http://groups.yahoo.com/group/ACESjobs/

Non Profit Times Jobs Bank
http://nptjobs.nptimes.com/search.cfm

Just Tech Writer Jobs
http://www.justtechwriterjobs.com/JSSearchJobs.asp

American Society of Business Publications Editors Job Bank
http://www.asbpe.org/jobs/joblist.htm

TV Jobs
http://www.tvjobs.com/jbcenter.htm

Editor and Publisher Career Center
http://www.editorandpublisher.com/eandp/classifieds/index.jsp

Write Link Job Board (UK)
http://www.writelink.co.uk/Jobs/jobs.html

Paying Writer Jobs
http://groups.yahoo.com/group/PayingWriterJobs/

Association of Alternative Newsweeklies
http://aan.org/gbase/Aan/helpWanted

Jobs for Writers
http://www.klariti.com/jobs/index.shtml

The Media Network (UK)
http://www.tmn.co.uk/vacancies.asp

± Investigative Reporters and Editors Job Postings
http://www.ire.org/jobs/look.html

± JOURNet Listserv Archives
http://eb.journ.latech.edu/jobs.html

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>>CREATIVE WRITING-ORIENTED<<

The Write Jobs
http://www.writejobs.com/jobs/

WriterFind Jobs
http://www.writerfind.com/freelance_jobs/

About.com's Job Listings
http://freelancewrite.about.com/cs/assignmentboards/index.htm

Preditors & Editors
http://www.anotherealm.com/prededitors/pubjob.htm

Telecommuting Jobs for Writers
http://www.tjobs.com/new/writers.shtml

Writer's Resource Center
http://www.poewar.com/jobs/

± Society for Scholarly Publishing
http://sspnet.org/i4a/classifieds/?pageid=3276

Creative Hotlist
http://www.creativehotlist.com/index.asp

Sharp Writer
http://www.sharpwriter.com/jobmarket.htm

Burryman's Freelance Opportunities
http://www.burryman.com/freelance.html

Work for Writers Yahoo Group
http://groups.yahoo.com/group/WorkForWriters/

Support for Writers Yahoo Group
http://groups.yahoo.com/group/supportforwriters/

Craig's List - Community Classifieds for the City
(check New York for publishing house needs)
http://www.craigslist.org/about/cities.html

Writer's Weekly
http://www.writersweekly.com/markets_and_jobs.php

Publisher's Weekly Job List ($)
http://publishersweekly.reviewsnews.com/index.asp?layout=classifiedsJobsPub&category=Publishing+Jobs&publication=publishersweekly

Publisher's Marketplace Jobs
http://www.publishersmarketplace.com/jobs/

WriteMovies Job Board
http://www.writemovies.com/jobs/

Absolute Write Water Cooler
http://pub43.ezboard.com/fabsolutewritefrm29

Artist Resource
http://www.artistresource.org/jobs.htm#Writers

Creative Writer Listing at Jobs.com
http://creative.writer.jobs.monster.com/

WritingClasses.com Classifieds
http://www.writingclasses.com/writersnetwork/classifieds/index.html

± The Writer Gazette Job Listings
http://www.writergazette.com/jobf4m.shtml

± Pif Magazine's Writers' Only
http://pifmagazine.com/writers_only/

± AuthorLink
http://authorlink.monster.com/

******************************************************
>>GENERIC JOB-HUNTING<<

Monster.com (aka Jobs.com)
http://www.monster.com

HotJobs (@ yahoo.com)
http://www.hotjobs.com/

Career Builder (aka Headhunter.net)
http://www.careerpath.com/

JobHunt.org
http://www.job-hunt.org/general.shtml

Job Hunt Resources by Academic Major
http://www.uww.edu/stdrsces/career/jobsearc/d12.htm

Job Star
http://www.jobstar.org/

Dice
http://www.dice.com

4Jobs
http://4jobs.com/

JobPilot: European Job Market
http://www.jobpilot.co.uk

Job Hunter's Bible resources
http://www.jobhuntersbible.com/jobs/regions.shtml

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>>GUIDELINES & MARKET LISTINGS<<

Writer's Write Paying Markets
http://www.writerswrite.com/paying/

Poets & Writers Classifieds
http://www.pw.org/mag/classifieds.htm

Writer's Weekly Updates
http://www.writersweekly.com/markets/markets.html

Writer's Digest Guidelines
http://www.writersdigest.com/guidelines.asp

Worldwide Freelance Writers
http://www.worldwidefreelance.com/

Art Deadlines List ($)
http://artdeadlineslist.com/subscribe

± Mary Wolf's Guide to E-Book Publishers
http://www.maryzwolf.com/epub.html

Piers Anthony's Survey of Electronic Publishers
http://www.hipiers.com/publishing.html

Gila Queen ($ -- delayed)
http://www.gilaqueen.us

Ralan's Extravaganza (SF/F/H & Humor)
http://www.ralan.com

Write Market (SF/F/H)
http://www.writemarket.com/

The Market List (SF/F/H)
http://www.marketlist.com

Fleming's List of Markets (SF/F/H)
http://home.att.net/~p.fleming/Sfmarket.html

Speculations Rumor Mill (SF/F/H)
http://www.speculations.com/rumormill/

Hellnotes (H/$)
http://www.hellnotes.com

Horror Scripts (H)
http://www.tcnj.edu/%7Eberes/horror.htm

FlashFictionFlash (very short stories)
http://groups.yahoo.com/group/FlashFictionFlash

Funds for Writers
http://www.fundsforwriters.com

Places for Writers
http://www.placesforwriters.com/archives/cat_calls.html

± StoryPilot (fmrly. Engen's SF&F Market Engine) (SF/F/H)
http://storypilot.com/

Dark Markets (H)
http://www.darkmarkets.com/

Spicy Green Iguana (SF/F/H)
http://www.spicygreeniguana.com/index.asp

SpecFicWorld's Market Listings (SF/F/H) ($)
http://www.specficworld.com/sfme.html

Tucows News Directory
http://www.newsdirectory.com/

± The Eternal Night Chronicle (SF/F/H)
http://www.eternalnight.co.uk/chronicle/c34/markets.html

Likely Dead:
Writing for Dollars
Writer's Resource

******************************************************
>>WRITING TEACHER ORIENTED<<

Chronicle of Higher Education
http://chronicle.com/jobs/

Academic Position Network
http://www.apnjobs.com/

Association of Writing Programs
http://www.awpwriter.org/careers/careerlinks.htm

Adjunct Nation
http://www.adjunctnation.com/jobs/

Internat'l Teacher Recruitment
http://www.teachers.eu.com/

Academic360
http://www.academic360.com/

Agent K-12 (Education Week)
http://www.agentk-12.org/

******************************************************
>>FREELANCING FOR HIRE<<

Elance -- Auction Your Services
http://www.elance.com/c/static/main/displayhtml.pl?file=eol.html&module=home&;;

Freelance Work Exchange
http://www.freelanceworkexchange.com/

Guru.com (fmr. e-moonlighter)
http://www.guru.com/

± Recommended Reading:
"Your Worth as a Freelancer" by George Sheldon
http://www.fwointl.com/artman/publish/article_72.shtml

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>>ACADEMIC PUBLISHING CALLS<<

UPenn's Calls for Papers
http://www.english.upenn.edu/CFP/

E-Server's Calls for Papers
http://eserver.org/calls/

Tech Comm Calls for Papers
http://tc.eserver.org/dir/Academic/Calls-For-Papers

Custom Conference Alerts
http://conferencealerts.com/

Papers Invited
http://www.papersinvited.com/

APA Online
http://www.apa.udel.edu/apa/opportunities/conferences/

******************************************************
>>INTERNSHIPS<<

Internships.com
http://www.internships.com

College Central
http://www.collegecentral.com

Internship Programs
http://www.internshipprograms.com

Get That Gig
http://www.getthatgig.com/media/index.html

Envision
http://www.e-magnify.com/envision/

BackDoor Jobs -- Adventuring
http://www.backdoorjobs.com/

± Journalism Internships
http://www.journalismjobs.com/Search_Results_Internship.cfm

± The Mighty Internship Review
http://www2.daily.umn.edu/~mckinney/indexwof.html

******************************************************
Compiled by Michael A. Arnzen, Ph.D.
http://www.gorelets.com

Look into the low residency Master's Degree program
in Writing Popular Fiction @ Seton Hill University:
http://fiction.setonhill.edu/

SUBSCRIBE FOR FREE UPDATES
roughly every three months:
http://gorelets.com/cgi-bin/mojo/mojo.cgi

Like the Bizarre?
Subscribe to The Goreletter -- Winner of the 2003 Bram Stoker Award!
http://www.gorelets.com

******************************************************
>>MICHAEL ARNZEN'S LATEST<<

100 JOLTS: Shockingly Short Stories
http://store.yahoo.net/shocklines/100jobymiaar.html
http://www.rawdogscreaming.com

A collection of one hundred flash fictions designed
to horrify, disturb and stun by the award-winning author
of Grave Markings. High voltage fiction!

"Name your nightmare, Michael Arnzen delivers... 100 Jolts is a substantial
library of horror fiction in one book." -- Bruce Holland Rogers

"Michael Arnzen's writing is a tremendous amount of fun to read, and horror
enthusiasts everywhere should pick up a copy of 100 Jolts....This book is
great if you only have a few minutes to read during the morning commute or
if you have an hour to read every story in succession. I'm sure if you're
like me you'll be groaning in disgust, looking over your shoulder in fear,
and smiling with enjoyment all at the same time." -- SpecFicMe

"Arnzen could probably find a way to scare us with punctuation." -- Horror World

Available now for just $12.95!
Raw Dog Screaming Press | April 2004.
Cover Art by Matt Sesow
ISBN 0-9745031-2-6 | 156 pp. trade paperback

Available at your favorite online bookstore.

***
FREAKCIDENTS
http://store.yahoo.com/shocklines/freaksursidb2.html

Thirty disturbing -- and perversely hilarious -- poems of mutancy by award-winning writer Michael Arnzen, generously illustrated with the bizarre imaginings of underground artist, GAK.

"The human scab, the boy with a face full of eyes, the self-eating man -- proof again that Arnzen's outrageous imagination is mainlining our culture's nightsweats to engender a beautiful aesthetics of monstrosity. These poems are maniacally energized, transgressively funny, and perpetually haunted by the saddest awareness of all: freaks are us, only inside out." -- Lance Olsen, author of Hideous Beauties

"Mike Arnzen's Freakcidents is a wickedly gleeful kaleidoscope of hideous horrors. And yet amidst all this colorful carnage, one will find a heart -- beating with sympathy, even affection, for the bizarre characters that make up this amazing poetry collection." -- Mark McLaughlin, author of Once Upon a Slime

"I imagine that if the British poet Ted Hughes had written the Garbage Pail Kids those cards might have read very much like Michael Arnzen's Freakcidents. These poems are cruel and sad at the same time. These figures appall us the way those kids in school appalled us: if we possssed a modicum of decency at that age (always debatable), we didn't know whether to laugh at them or cry for them. They wore their scars on their sleeves. They saved us from being embarrassed by our own wounds." -- Steve Rasnic Tem, author of The Man in the Ceiling

Coming this December from from Shocklines Press in remarqued hardcover ($50) and signed trade paperback ($9.95). Preorder now at Shocklines.com!

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WordToys is available in a very generous shareware version that includes all the basics. But the professional upgrade includes many significant enhancements that every writer should have on their machine and I know that if you give this program a try, you'll be upgrading as soon as possible. As a kind gift, programmer Romke Soldaat is offering all Handy Job Hunter subscribers a 25% discount off the pro upgrade price of $20! Use this private link to register the software and when the form asks for a promotional code, enter TOYS-UN2I to claim your $5 off:

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"We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out."
-- Ray Bradbury

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