The tasks of literary editing include:
- correction of stylistic inaccuracies: inconsistencies, tautologies, misuse words, violation of style and literary norms;
- checking the logic of presentation;
- terminological unification.
PRICES for literary editing
Cost of literary editing >>> different performers may vary significantly, and the cost of work greatly depends on the volume of the order.
GOOD editors, as a rule, ask for a price in the range of 100-150 rubles. and more for 1000 printed characters of text.
DISCOUNTS, MARKUPS
Huge DISCOUNTS for authors works – 20% or more depending on the volume of the text.
SPECIAL CONDITIONS for editing and proofreading dissertations >>> .
MARK-UP for editing translations, texts with reduced level literacy and texts
authors for whom Russian is not their native or frequently used language + 50%.
EMERGENCY FOR URGANCE (out of turn, at night, on weekends and holidays) + 50%.
You can pay for text editing and proofreading services in the following ways:
– Yandex.Money, Qiwi, Anelik, Contact, Unistream, Western Union, transfer to a card or Sberbank account.
Why is artistic editing required?
Style and literacy of texts – an important part the reputation of the company, its image in the eyes of clients and partners. If any words in colloquial speech and look harmonious, then in a scientific or business text they may be absolutely unacceptable. When a person sees errors and stylistic inaccuracies, the question invariably arises in his head: “Can I trust the bank (insurance company, medical center etc.), whose employees are not able to write correctly in native language? Therefore, saving on text editing usually results in the loss of clients.
In addition, the text must be understandable to the reader. Therefore, the task of an artistic editor is to “translate” the text into the language of the audience to whom the author is addressing.
Why is literary editing a job for professionals?
Experience shows that most often it is beyond the power of even professional writers to maintain text in a single style. Journalists and copywriters primarily focus on the semantic component of the text, and not on the style. To create beautiful and easy readable text, you need not only knowledge of the norms of the Russian language, but also a sense of style and rich experience in such work. The literary editor must be absolutely competent, very attentive and must understand the specifics and purpose of the text.
It is too difficult for one person to combine several responsibilities and at the same time maintain high quality work in all areas. That's why the profession exists literary editor, which helps authors achieve impeccable literacy and stylistic form.
Literary editor - what kind of hero?
What is a literary editor? First of all it is comprehensive educated person, often a philologist, perfectly versed in one or more languages with which he works. Found mainly in publishing houses, although in Lately The service of literary editing is becoming popular on the Internet - owners of large portals are beginning to understand that even a complete amateur is more pleasant to read a literate text.
The task of a literary editor is to make the text not just literate and readable; There are proofreaders for this. In addition to spelling errors, the editor also corrects logical ones, works a lot with style, order and choice of words, unifies terminology - which is especially important when editing a foreign language text translated by several performers. By the way, an editor should work with translations, fluent in language original - to compare the source and the result.
In a sense, a literary editor can be called a co-author of the text. Of course, he does not amend the plot (if we are talking about work of art), does not in any way affect the content of the technical text. But it is the literary editor who often makes the plan, idea, and concept of the book understandable to a wide range of readers. One of the editors described the profession briefly and succinctly: “The editor gives the essence form.” That correct form, through which the essence becomes clear without distortion.
Now think about it: how important is it to convey the essence correctly in the same area of business? Isn't it true that we are talking about the maximum degree of importance?
Of course, over business texts There are already many different specialists working: journalists and copywriters, PR people, advertisers, translators. At the same time, real professionals, those who are “worth their weight in gold,” are far from one hundred percent. Unfortunately, the more load they bear, since good businessmen they want their texts to be written by the best in the business. As a result, the number of texts increases, but the quality rapidly decreases. Of course, an experienced copywriter is quite capable of producing 1-2 dozen original ideas per day, but will he be able to express each of them clearly and clearly?
Unfortunately, it's unlikely. Therefore, the services of an editor are needed, who will help arrange the words in the order that best conveys the main idea of the text. In addition, thanks to the editor, texts will simply become more literate. Of course, the author, at least out of respect for himself, will certainly use at least a spell checker, but there is a fact that many people forget: stylistic literacy is no less important.
By offering readers truly competent texts, you demonstrate a respectful attitude not only towards them, but also towards yourself, towards own business. You will attract more clients, supporters, readers, because now they will be able to understand you exactly the way you want them to. Aren't there enough reasons to turn to a literary editor for help?..
I.B. DOVE
LECTURE 1. 6
Literary editing as academic discipline. General problems of literary editing. 7
2. Definition of discipline. Editorial preparation of publications – difficult process. 9
3. Literary editing as one of the aspects of publishing activity. eleven
6. Assessing the logical qualities of the text. 17
LECTURE 2 20
The editor's work on the composition of the work. 20
1. How does editing a work begin 20
2. Features of the editorial reading of the manuscript 21
4. Features of the construction of journalistic texts 23
5. The editor’s work to eliminate the shortcomings of the composition 27
6. Practical tasks to reinforce the topic 30
LECTURE 3 36
The problem of classifying functional-semantic types of speech. Editorial rating of description 36
1. Identification of functional and semantic types of speech 36
2. Description. general characteristics 39
3. Descriptions in artistic speech and journalism 43
4. Static and dynamic descriptions 45
5. Compositional inclusion of descriptions in other texts 46
6. Practical tasks to reinforce the topic 47
LECTURE 4 50
Editorial rating various types narratives 50
1. Narration as a functional-semantic type of speech 51
2. The scope of use of narration in different functional styles and genres 51
3. Methods of conveying the sequence of events, actions, phenomena in the narrative 53
4. Epic, stage and biographical narratives 60
5. Practical tasks to reinforce the topic 63
LECTURE 5 67
Criteria for editorial evaluation of reasoning, explanation, and instruction. Combination different types speeches in one text 67
1. Definition of reasoning as a functional-semantic type of speech 67
2. Explicit and implicit forms of reasoning 69
3. Inference as the basis of reasoning 71
4. Deductive and inductive methods reasoning 72
5. Different shapes reasoning: evidence (direct and indirect), explanation 75
6. Explanation as a way of presenting material 78
7. Definition, its types 80
8. Instructing as a special way of organizing text 83
9. Combination of different types of speech in one text 83
10. Practical tasks to reinforce the topic 84
LECTURE 6. 88
Editing text during literary editing. Proofreading and shortening text 88
1. Editing the text in the process of literary editing. Types of editing. 88
2. Editing and proofreading. 90
3. Correction marks used when different types edits. 91
4. Editing-cutting. General characteristics of this type of editing. 100
5. Methodology for performing editing-reduction. 101
6. Practical tasks to reinforce the topic. 104
LECTURE 7. 108
Editing-processing and editing-reworking in the process of literary editing. 108
1. General requirements to the editor performing editing and processing. 109
3. Application of editing-processing when editing texts belonging to different functional styles. 116
When starting to edit and process the text, the literary editor must take into account the peculiarities of the genre. Some requirements are imposed on the literary form of information genres (note, report, report, interview), characterized by some dryness and limited expressive elements of speech; a different approach - to the style of analytical genres (correspondence, article, review, letter, review), characterized by a freer handling of linguistic material, the widespread use of colloquial means, figurative speech. And absolutely special treatment should be towards editing artistic and journalistic genres (essay, sketch, feuilleton, pamphlet), which reflect the originality of the individual author's style and often do not tolerate the intervention of a literary editor. Recourse to such powerful means emotional impact like paths rhetorical figures, direct and improperly direct speech and others, is available only to the author himself, who is unlikely to agree to transfer this right to a literary editor. 118
4. Editing and reworking. 122
Unedited text: 122
5. Practical tasks to reinforce the topic. 124
Unedited text 124
LECTURE 8. 127
The editor's work on the vocabulary of the manuscript. Assessing word usage. Elimination lexical errors. 127
1. The word is the basis for understanding the text. 128
3. Analysis of word usage. Eliminating lexical errors of different nature. 131
4. Using a word without taking into account semantics. Euphemistic speech. 132
Edited version 132
6. Logical errors as a result of incorrect word usage. 134
7. Problem lexical compatibility. 137
8. Speech redundancy and its manifestation. 139
9. Speech failure. 143
Unedited version 147
LECTURE 9. 149
Criteria for editorial evaluation of lexical synonymy, antonymy, paronymy, paronomasia. Stylistic assessment of the polysemy of words and the phenomenon of homonymy. 149
1. Lexical synonymy– a source of richness and expressiveness of the Russian language. 150
2. Stylistic functions synonyms in the text. 151
3. Errors when using synonyms in speech. 154
4. Lexical antonymy as a manifestation systemic relations In russian language. 156
5. Stylistic usage antonyms in literary and journalistic texts. 158
6. Errors when using antonyms in speech. 161
7. The concept of paronymy and paronomasia. 162
8. Stylistic use of paronyms and consonant words. 163
9. Mixing paronyms. Errors caused by paronomasia. 165
10. Stylistic assessment of the polysemy of words and the phenomenon of homonymy. 167
11. Errors arising from use polysemantic words and homonyms. 170
12. Practical tasks to reinforce the topic. 171
Lecture 10. 174
The editor's work with different styles of vocabulary used in journalistic speech. 174
1. Stylistic stratification of Russian vocabulary. 175
2. The use of different styles of vocabulary in journalistic speech. 179
3. Stylistic assessment of vocabulary limited use. 182
4. The use of terms in popular science texts. 185
5. Pseudo-scientific presentation. 186
6. Stylistic assessment outdated words in a journalistic text. 187
7. Evaluation of clericalism and speech stamps. Speech standards. 189
8. Practical tasks to reinforce the topic. 195
LECTURE 11. 202
Editorial Evaluation Criteria foreign words, neologisms. 202
1. The influx of foreign words into the Russian language. 202
2. Stylistic characteristics borrowings. 205
3. Speech errors that arise when using foreign words. 207
4. Stylistic editing of texts with unjustified use foreign words. 211
5. The composition of neologisms in modern Russian. 218
6. Stylistic assessment of new words. 224
7. Refusal to use neologisms when editing. 225
8. Practical tasks to reinforce the topic. 227
LECTURE 12. 230
The editor's work on phraseological means of the language. 230
1. Basic types phraseological units Russian language, their expressiveness. 231
2. Features of the structure and use of phraseological units. 234
3. Stylistic use of phraseological units by journalists 235
4. Phraseological innovation of journalists and writers 237
5. Speech errors when using phraseological units 241
6. Analysis of stylistic correction of errors associated with the use of phraseological units 245
7. Practical tasks to reinforce the topic 248
LECTURE 13 255
Editor's work on lexical means figurative speech 255
1. The concept of figurative speech 255
2. Basic lexical figurative means used in journalism 256
3. Criteria for editorial evaluation of tropes in journalistic texts 262
4. Errors when using lexical figurative means 265
5. Analysis of the editorial processing of the essay 269
6. Edited text 273
7. Practical tasks to reinforce topic 275
Lecture 14 285
LECTURE 14 285
Criteria for editorial evaluation of text phonics 285
1. Meaning sound organization speech. Euphony requirement 285
2. The desire for euphony of speech when stylistically editing the text 290
3. Strengthening the sound expressiveness of speech in prose text 293
4. Random audio repeats V prose texts 298
5. Elimination of phonics deficiencies when stylistically editing the text 304
6. Practical tasks to consolidate topic 310
Lecture 15 318
Criteria for editorial evaluation of the use of nouns, adjectives, numerals, pronouns 318
1. Nouns as a means of figurative concretization 319
2. Elimination of morphological and stylistic errors when using nouns 325
3. Expressive function adjectives 329
4. Elimination of morphological and stylistic errors when using adjectives 332
5. Place of numerals in journalistic texts 334
6. Criteria for editorial evaluation of the use of variant forms of a numeral 336
7. Eliminating errors when using numerals 340
8. Stylistic use of pronouns 343
9. Eliminating errors when using pronouns 347
10. Practical tasks to consolidate topic 350
Lecture 16 355
LECTURE 16. 355
Criteria for editorial evaluation of the use of verb forms 355
1. Place of the verb in comparison with other parts of speech in journalistic style 356
2. The verb as a means of object-figurative concretization of the narrative 358
3. Stylistic use grammatical categories verb 361
4. Eliminating errors that arise when using verbs 366
5. Participle - a special verb form and its stylistic assessment 374
6. Elimination of errors that occurred when using participles 378
7. Stylistic assessment of the gerund as verb form 382
8. Practical tasks to reinforce topic 388
Lecture 17 393
The editor's work on syntactic structures when editing the manuscript 393
1. Diversity syntactic constructions in Russian 393
2. Stylistic assessment of parallel syntactic constructions 399
3. Use of parallel syntactic structures during stylistic editing 406
6. Practical tasks to reinforce topic 422
Lecture 18 429
Achieving clarity of syntactic structures during literary editing 429
1. Editorial assessment of word order in sentence 430
2. Stylistically unjustified inversion and elimination of this error during literary editing 435
3. Unmotivated ellipse. Stylistic editing of constructions with a missing member of sentence 438
4. Stylistic assessment of constructions with non-prepositional and prepositional control 439
5. The problem of coordinating the main members of sentence 443
6. Stylistic assessment of options for harmonizing definitions and applications 449
7. Practical tasks to reinforce topic 459
References 466
Literary editing is one of the the most important aspects publishing activity, it has a specific practical orientation and is based on a generalization of the experience of literary processing of texts by writers, journalists and publishing employees.
Classes on literary editing are conducted in universities at faculties that train journalists, editors, and publishing workers. The teaching methods of the subject are different: in Moscow state university Dedicated to Lomonosov for literary editing practical lessons for a year, and at the Moscow State University of Printing Arts, editorial preparation of publications is studied for two years, including literary editing for component editor's work on the manuscript. A lecture course on literary editing is given at the Moscow humanitarian institute them. E.R. Dashkova. After listening to it and working on the practical tasks proposed to consolidate each topic, students write coursework, the content of which includes the preparation of works of different genres for publication in a newspaper or magazine. Practical mastery of literary editing skills is also tested during testing before the exam.
This manual was the result of the author’s work at the Humanitarian Institute. E.R. Dashkova.
I express my gratitude to the reviewers who approved the manuscript - Professor Grigory Yakovlevich Solganik and Associate Professor Nina Zakharovna Ryabinina, as well as my students who selected an interesting illustrative material and participated in editing the texts proposed in practical tasks. I am grateful to all my listeners who collect examples that reflect far from perfect language modern journalism. An analysis of the style of these texts convinces us that the problem of literary editing is very relevant for journalists and publishing workers.
Lectures on literary editing will be interesting and useful to everyone who cares about culture writing wants to learn how to express his thoughts convincingly and beautifully, and most importantly – correctly.
LITERATURE:
Bylinsky K.I., Rosenthal D.E. Literary editing. - M.: Art, 1961.
Likhtenshtein E.S., Sikorsky N.M., Urnov M.V. Theory and practice of editing. - M.: graduate School, 1963, vols. 1-2.
Senkevich M.P., Feller M.D. Literary editing (linguostylistic fundamentals). - M.: Higher School, 1968.
Theory and practice of editing. Reader. Ed. N.M. Sikorsky. - M.: Higher School, 1968.
Sikorsky N.M. Theory and practice of editing. - M.: Education, 1971, 1980.
Milchin A.E. Text editing technique. - M.: Higher School, 1980.
Nakoryakova K.M. Editing materials mass media. - M.: MSU, 1982.
Bazanova A.E. Literary editing. - M.:UDN, 1991.
Abramovich A.V., Lazarevich E.A. Workshop on literary editing. - M.: Moscow State University, 1970, 1974, 1986.
Lavrentyeva E.V., Nakoryakova K.M. Electronic journalism: Editorial processing of journalistic materials. - M.: MSU, 1991.
Nakoryakova K.M. Literary editing of mass media materials. - M.: MSU, 1994.
Nakoryakova K.M. Literary editing. – M.: Ikar, 2002.
Guzhova I.K., Molibozhenko R.A., Nakoryakova K.M., Surikova T.I. - Literary editing. Materials for classes. - M.: MSU, 2000.
SAMPLE SUBJECTS OF STUDENT WORKS:
Experience of editorial work of a journalist or writer of the 19th-20th centuries.
Organization of editorial activities of a newspaper, magazine, publishing house.
National characteristics language of the media.
Genre structure of journalistic texts and features of their editing.
Compositional structure of various journalistic genres.
Stylistic features of various journalistic genres.
LECTURE 1.
Literary editing as an academic discipline. General problems of literary editing.
2. Definition of discipline. Editorial preparation of publications is a complex process.
3. Literary editing as one of the aspects of publishing activity.
4. The formation of literary editing in Russia.
5. Tasks of literary text editing.
6. Assessing the logical qualities of the text.
1. History of the issue. Textbooks for literary editing.
Literary editing as an academic discipline began to be studied for the first time at the Moscow Printing Institute (now the University of Printing Arts) in the late 40s - early 50s of the XX century. In those years, the department of editing of the MPI was headed by K.I. Bylinsky, who wrote the manual “Fundamentals of Literary Editing and Editing of Newspaper Materials” (Moscow, 1948, p. 64). Nine years later, Konstantin Iakinfovich, in collaboration with D.E. Rosenthal, who headed the department of Russian language and stylistics at the MPI, prepared the textbook “Literary Editing” (M.: Iskusstvo, 1957. P. 340). By this time, the course in literary editing was already taught not only at the MPI, but also at Moscow State University, where it was taught by Professor K.I. at the Faculty of Journalism since 1952. Bylinsky.
In the lectures of K.I. Bylinsky was formulated general concept course, the subject of study was determined, the main sections of the program were developed. So preparatory to the creation of a new one academic subject was completed. Its further development was carried out by colleagues and students of K.I. Bylinsky - A.V. Abramovich, E.A. Lazarevich, N.M. Sikorsky, A.E. Milchin, M.P. Senkevich and others. The title of the course “Literary Editing” currently “appears more traditional than accurate,” notes K.M. Nakoryakova, the author of a leading textbook on this subject, pointing out that the consolidation of the term is due to “the desire to emphasize the specifics of the editorial preparation of materials in the conditions of newspaper work and the need to designate a concept broader than literary editing, – elimination of language and style errors” ?.
The focus of the authors of literary editing manuals we named was the preparation for publication of mainly newspaper materials. The working conditions of newspaper workers in the editorial office, special efficiency in preparing materials, literary processing of small literary forms largely determined the content of the literary editing course: it gives preference to the preparation of works journalistic style. Other topics are devoted to the editor’s work with text of other styles. teaching aids(Editing individual species Literature / Ed. N.M. Sikorsky. M.: Book, 1987; Antonova S.G. and others. Editorial preparation of publications: Textbook for universities. M., 2002).
At the Moscow State University of Printing Arts, the Department of Russian Language and Stylistics prepared a course of lectures “Literary Editing” edited by Professor N.S. Valgina (M., MPI Publishing House, 1989. P. 127). It also deals with literary editing of works belonging to different functional styles, but a number of chapters are devoted to common problems editor's work with text. Special interest in this regard, it is written by N.S. Valgina chapter “Semantic-structural and functional signs text as an object of work of a literary editor,” as well as the chapter “Eliminating speech errors and inaccuracies. Monitoring compliance with the norm”, prepared by I.B. Blue
In the proposed course of lectures we will preserve the tradition established in the works of K.I. Bylinsky, - to consider the work of a literary editor mainly on materials of the journalistic style, giving preference to works of small forms.
1 K.M. Nakoryakova. Literary editing. General technique working on the text: Workshop. M.: IKAR, 2002.P.8.
2. Definition of discipline. Editorial preparation of publications is a complex process.
The term “editing” goes back to the Latin source: hedactus - putting in order. The word editor came into Russian from the French: gedasteur - “a person who edits something.” In big Soviet encyclopedia"A more extensive interpretation of this term is proposed:
“An editor is a person who corrects, processes any text and brings it into conformity with the rules of literary style, style, with the purpose, character and political orientation of this printed edition"(TSB. T. 36. P. 238). However, this definition does not reflect all the functions of an employee called an editor. The complex of tasks and functions of the editor make him responsible for performing various types of work - from organizational and managerial to literary and creative. Therefore, the word “editing” has received several meanings: this term can mean the management of the publication of a book, newspaper, periodical, as well as television and radio programs, films. Editing is also usually called checking and correction, the final literary and technical processing of any text intended for reproduction. This also includes bringing the content and design of the text into compliance with established unified standards. This line of work is also editing. Finally, the most broad meaning the term “editing” includes all successive stages of the publishing process of improving a handwritten work in ideological, political, scientific and literary terms. In this case, editing brings together a group of people, including both the author himself and the scientific, literary, artistic and technical editor, reviewers and all employees involved in the delivery of the manuscript to production and its publication.
Literary editing can be briefly defined as “the search for the most accurate verbal expression of formulations, certain ideas, specific judgments or concepts, as well as arguments that clearly and convincingly prove the points put forward by the author 1.
Editorial preparation of publications is a complex, multi-stage process. The editor must know the requests and needs of readers, he studies the market, determines the thematic composition of publications, looks for authors to create the necessary works, and decides what can be republished. The editor draws up a concept, develops a model for the future publication, and resolves issues of design and illustration of works. Finally, his responsibilities include editorial processing of the manuscript submitted by the author; the editor must organize its passage to the publishing house, develop a program for the publication’s advertising campaign, and monitor the situation developing in the process of distributing published works. Therefore, as experts rightly say, professional training editor “involves the study of many subjects, the core of which are subjects of the actual editorial orientation” 2.
3. Literary editing as one of the aspects of publishing activity.
Literary editing is one of the most important subjects in this range of disciplines; it has a specific practical orientation and is based on generalizing the experience of literary processing of texts by famous writers, publishing employees, writers and journalists. Literary editing is not separate an independent stage passage of the manuscript, but as one of the types of work on the work is present at all stages of the movement from manuscript to book. Already at the stage of preliminary review by the editor and external reviewers, significant attention is certainly paid to the literary form of the work submitted to the publishing house; in reviews, as a rule, they note stylistic features presentation of the material, errors and shortcomings in style made by the author are indicated. The author's presentation of the material is subjected to a more detailed practical analysis at the stage of in-depth editorial review so that the author, in the process of finalizing the manuscript, if possible, independently corrects the noticed speech and semantic errors.
IN further work the editor helps the author improve the manuscript. As one of the most experienced publishing workers points out, thanks to the efforts of the editor, “every element of the manuscript is analyzed and evaluated, down to the smallest; finding out the reasons for particular imperfections of the text and possibilities for its improvement, searching for means to eliminate these reasons, ways to implement these possibilities, editing as a type of constructive suggestions to the author” 1.
4. The formation of literary editing in Russia.
The editor's profession has long traditions, and at the very beginning the editing was carried out precisely in terms of literary processing of the text. In Rus', with the spread of the first liturgical books, which were handwritten copies of Byzantine originals, the need arose for their literary processing. Translators of religious texts sought not only to reproduce their content in Church Slavonic, but also to present it in a more accessible form, and this required literary processing of these ancient written monuments. Their creators also strived for perfection linguistic form translations, cared about the correctness of the graphic execution of these precious works. (Ancient handwritten books on parchment were comparable in price to an entire house!)
Modern researchers ancient monuments of Russian writing, traces of editorial editing are found in them. Thus, in The Tale of Bygone Years, layers of text belonging to chroniclers whose life dates were separated by decades were preserved. Investigating this monument, M.X. Aleshkovsky states: “Before us are traces of the work of a whole galaxy of scribes who succeeded each other, who used the texts of their predecessors when writing their own chronicles” 1.
Undoubtedly, when compiling various lists From this monument, chroniclers resorted to editing texts written earlier. However, one can only guess about the nature of their literary processing. At the time of the creation of handwritten books of predominantly liturgical nature main goal their editing was fidelity to the original: the comparison of new books with the canonical text formed the basis of editorial work.
The beginning of literary editing in the professional sense of this activity was laid by Ivan Fedorov, whose name is associated with the emergence of book printing in Russia. In 1564, when publishing his “Apostle,” Ivan Fedorov directly worked on the text: he excluded several incomprehensible foreign language terms and added the necessary greek words, replaced some archaisms, corrected certain grammatical forms.
Publishing in Russia received a powerful impetus during the Petrine era; the tsar himself took part in the preparation of some books, and now in the book depositories of large cultural centers proof copies with notes and corrections made by the hand of Peter I are preserved. He supervised the publication of various books, scientific works, historical works, telling about the victories of Russian weapons, etc. Those close to Peter I also took a direct part in book publishing. So, famous commander P.Ya. Bruce edited books on military affairs. Young nobles who were educated abroad were from time to time engaged in editing books that had important practical significance.
K.M. Nakoryakova, describing the history of literary editing in Russia, shows special meaning for its development cultural progress in the 18th century: “It was then that the logical and linguistic foundations of the theory of editing, those traditions in working on the text, many of which we are guided by to this day, were laid, the further formation of various types of books took place, techniques were developed through which the editor shows his attitude to the contents of the book."
Prominent writers XVIII century A.D. Kantemir, V.K. Trediakovsky, M.V. Lomonosov, N.I. Novikov, A.N. Radishchev, N.M. Karamzin were at the same time theoreticians of Russian literature, devoted great attention book publishing and journalism. Some of them left samples of the author's corrections of their own works and numerous texts that they edited, preparing them for publication.
Writers of the 18th century laid down the tradition of literary editing, adopted by A.S. Pushkin and other writers of the 19th century and continues in our time.
At the same time, the responsibilities of the editor of a magazine, an almanac, as well as the editor of a publishing house are gradually becoming clearer. The editor not only selected material for publication that corresponded to the direction of the publication, but also wrote an editorial preface and prepared footnotes and comments.
Great importance to study the experience of literary text processing has publishing activity ON THE. Nekrasov as editor of the Sovremennik magazine, M.E. Saltykov-Shchedrin, who was a member of the editorial board of Otechestvennye zapiski, and other writers of that time. When literary editing the works of remarkable Russian writers who published their works in these magazines, publishers treated with special respect the author's individuality and the unique style of remarkable prose writers and poets. This created a proud tradition in literary editing of works of art.
From the second half of the 19th century century, a new direction has emerged in literary editing - preparing scientific works for publication. Started with publication scientific works N.I. Lobachevsky, I.M. Sechenova, D.I. Mendeleeva, I.P. Pavlova, it finds further completion in the editorial activities of V.I. Vernadsky, N.I. Vavilov, who laid theoretical basis editing scientific works.
IN late XIX– the beginning of the 20th century in conditions of exacerbation political struggle Journalistic literature and, accordingly, its editorial preparation are of particular importance. Literary editing theorists closely studied the recommendations and comments politicians, leaders who taught journalists to write clearly, concisely and accurately. These requirements for the language of the press have not lost their relevance today, although literary editing is based not on politicized cliches of recent times, but on centuries-old provisions on the literary processing of manuscripts in their preparation for publication.
5. Tasks of literary text editing.
The literary editor is responsible for the content and literary design of the material prepared for publication. This means that when working with an author, the editor should first of all pay attention to the choice of topic for publication. The most important criterion for the editorial assessment of the presented material is its relevance, reliability and specificity of what is described.
The novelty of the material and the relevance of the topic for a journalistic work determines the interest of readers in it. Therefore, choosing a topic is the first condition for the successful promotion of a text being prepared for publication. However, this alone is not enough. It is necessary to establish how correctly the topic has been developed, to what extent the author’s fundamental principles are correct, what is the depth of coverage of the topic, and whether the information given in the manuscript corresponds to real facts. In this case, the editor’s main attention should be directed to working with factual material.
The literary editor must have a technique for analyzing and evaluating the factual material in the submitted manuscript. The term “factual material”, adopted in editing practice, according to experts, covers all elements supporting the text - concepts and subject relations. In contrast to the term “fact”, “factual material is realized in textual structures denoting not only events, but also material elements of the subject range, properties, qualities, states, designations of persons, relationships, quantities.” 1. Scrupulous verification of factual material requires erudition from the editor , high professionalism and great tension.
An important criterion The editorial assessment of the presented material is its specificity. A broad formulation of the question and an insufficiently specific topic makes it difficult to study it in depth and reduces the value of the author’s observations. In addition, this deprives him of the opportunity to accurately determine the reader’s address of the written work.
In the process of literary editing, the text is usually shortened. Reducing the length of a manuscript is usually dictated by the desire of the literary editor to improve the style of presentation. Its prolixity and verbal redundancy are often explained by the author’s inability to express his thoughts concisely and accurately. The editor must exclude semantic repetitions, similar examples, unimportant details, vague wording. However, when resorting to editing-reduction, the editor must take into account the relationship between the plan of content and the plan of expression speech units in a specific text belonging to a certain style and genre. Assessing the information content of the means of expression, the editor searches for the most effective ways presentation of the material.
Exist different ways increasing the information qualities of a message, the most important among them is the extensive method. It increases the information content of the presentation by expanding the volume of the message, detailing the presentation, allowing deeper insight into the essence of the phenomenon. In contrast, the intensive method consists in condensing information, in an effort to convey content using more economical linguistic means. The choice of one or another method of presenting material depends on many factors that must be taken into account during literary editing. Knowing the secrets of brevity and conciseness in conveying information, a literary editor must help the author achieve the desired tension (or lack of tension) of the text in accordance with the requirements of the style, genre, and readership of his work.
True, the need to shorten the text may arise regardless of the creative attitudes of the author and editor - due to lack of space on the newspaper page, exceeding the contractual volume of the manuscript, inconsistency of the presented material with the genre, as well as for opportunistic reasons (mention of undesirable details, outdated events, lost its meaning of facts, odious characters, etc.). And in such cases, the literary editor shortens the text, having received the consent of the author.
An important component of literary editing is working on the composition of the text. The editorial assessment of the composition is based on the conditional division of the presented material into its component parts: introductory, main, final. The editor must determine how well the structure of the work conveys its content. The main criteria for editorial evaluation of a composition are: integrity, consistency, proportionality of parts. The individual parts of the work must be combined, interconnected, in otherwise there is chaos in the presentation of the material. The systematicity criterion determines the logical structure of the text, in which individual parts that are interconnected together form a system, and not a mechanical unification of heterogeneous elements. The proportionality of the parts is reflected in the correspondence of the volume of a particular fragment of text to the semantic significance and cognitive value of the information contained in it.
High requirements for genre diversity in print, ideological content and artistic qualities published in newspapers and magazines, broadcast on radio and television numerous materials make it necessary to carefully edit each of them.
The editors receive a number of manuscripts that are completely complete in their content, language and style. But most of them need editing to some extent.
Main purposes of editing. The Central Committee of the Party, in its decisions on the press, has repeatedly pointed out the need to improve the language and style of our press, to achieve the impeccable form of newspaper and magazine materials, and to strive for excellent style of presentation.
In the circular “On the Program of the Local Newspaper” (1921), the Central Committee reminded press workers that the newspaper, in addition to content close to the interests of the masses, must be understandable in the presentation of the material. Articles and notes, as well as the phrases themselves, should be brief, built according to a clear, precise plan. The main idea and essence of each article and note must be expressed clearly, little-known events and unfamiliar place names and the names are explained and interpreted.
XIII Party Congress (1924) in resolution<>0 press" noted that editorial staff are obliged to work on improving the language, skillfully combining maximum popularity and brightness of presentation with the seriousness and thoroughness of the content.
In subsequent years, the Central Committee of the Party repeatedly pointed out to the editors the shortcomings in literary editing. The resolution “On measures to improve regional newspapers” (1952) noted that “many newspapers are sloppily edited and are not literary literate enough...”. The resolution “On measures to improve city newspapers” (1952) indicated that most of them are published at a low cultural level. The editors of this type of newspaper were pointed out the need to ensure that each issue was purposeful, meaningful, interesting and literate.
Questions of qualified literary editing, High Quality language and style of newspaper materials along with deep ideological content are the most important in the practice of our press. The Soviet reader has grown, his demands on the content, style and language of print have increased immeasurably.
In the editorial offices of newspapers, magazines, radio broadcasting and television, and in publishing houses, he is engaged in editing large group workers. Preparations for the collection of manuscripts of journalists and the author's assets are first made by literary staff and heads of departments. Edited materials are submitted to the secretariat, where their quality is checked by literary and executive secretaries. Upon further passage, the originals or proofs of the set are read by the member of the editorial board on duty, the editor or his deputy.
The practice of editing manuscripts in editorial offices and publishing houses shows that, although this work is often carried out by several people, it is a single process aimed at giving content political orientation, improve the composition and style of materials, make these materials lexically and grammatically correct, and the language clear, accurately and expressively conveying the author’s thoughts.
Literary editing meets its goals if it is done thoughtfully and knowledgeably.
A journalist engaged in editing must always remember his high responsibility. Only in this case can he correct the text quite competently from ideological, literary and factual points of view, maintain the unity of form and content, concept and style. Otherwise, mistakes and mistakes are inevitable. The resolution of the CPSU Central Committee “On improving the work and streamlining the network of correspondents of central newspapers, TASS, radio broadcasting, television and the Sovinformburo” (July 1960) once again reminds journalists of this. It says: “Often, employees of some editorial offices arbitrarily and carelessly edit correspondents’ materials, insert unfounded conclusions and generalizations into them, thereby putting their correspondents in a false position in front of local organizations and readers.”
And, in particular, it is impossible to fit all materials to one size. This shortcoming is sometimes committed by those literary employees who show tastefulness when editing, which has a detrimental effect on the quality and content of manuscripts. There are also editorial secretaries who consider it their duty to begin editing each author's material by re-writing the first phrase, and this entails a radical correction of the subsequent text. As a result, the authors do not recognize their materials and rightly protest against such editing.
When starting the literary processing of a manuscript, a journalist must carefully read its contents in order to understand the author’s intent, understand the manuscript from a lexical and grammatical point of view, and take into account the peculiarities of the author’s style. It is useful to correct noticed grammatical and factual errors and inaccuracies immediately, since they may be missed during further work. At the same time, the literary proofreader makes notes in the margins of the manuscript against those places in the text where editing is necessary in further work.
This editing method makes it possible to produce overall rating manuscript, i.e. determine whether it is suitable for printing or whether it should be returned to the author for revision.
If the manuscript is suitable for printing, the editor or proofreader begins further work. In the event that there is an opportunity to talk with the author, he expresses to him his comments that arose during the first reading, asks him to make necessary changes. In publishing houses it is used for this purpose. working review, which details comments about the shortcomings of the manuscript and makes recommendations on how to improve it.
Sometimes a manuscript contains interesting thoughts and facts, but its composition is unsuccessful, individual parts are not subordinated to a general idea, or this idea is not clearly expressed enough. In this case, it is useful to advise the author to revise the manuscript.
After the author has corrected or revised the manuscript, the editor or proofreader begins its final editing. He brings the text into compliance with political and scientific requirements, checks the correctness of facts and figures, the accuracy of quotes, captions to pictures and photographs, and eliminates logical errors.
This method of editing a manuscript is fully justified. But, unfortunately, when submitting urgent material for typing, this method sometimes has to be abandoned, since in the few minutes available to the journalist it is impossible to comply with the rules provided for when editing the original. However, you should always remember that the material should be edited so that in typed form (in galleys or strips) it does not need to be reworked. Excessive editing in galleys or in strips disrupts production processes in a printing house, increases the cost of a newspaper, magazine or book, and lengthens the production time."
In the practice of editorial work, there are four types of editing: editing-processing, editing-reworking, editing-reduction and editing-proofreading.
Editing-processing is the most common. As a rule, most authors write their materials according to a specific plan, develop a composition, strive to write each phrase competently, expressively, putting all their skill into this matter. However, authors do not always succeed in achieving this. Some manuscripts contain errors in composition, flaws in language, style and grammar. The most common shortcomings include inaccurate wording, incorrect division of the text into paragraphs, poor justification of the main provisions, etc. Sometimes the facts given in the manuscript are not directly related to the main topic, the presentation is not in proper sequence, certain parts of the manuscript are disproportionate, etc. d.
The task of the editor or literary proofreader is to eliminate such shortcomings. However, it is recommended to make significant changes to the text only with the consent of the author.
Editing and reworking. As can be seen from the definition itself, it presupposes a radical restructuring of the material. On the advice of the editors, it should be carried out by the author himself. This is not always possible to do in the operational environment of a newspaper editorial office. In addition, some authors, due to lack of experience, are not able to fulfill the requirements of the editors. In this case, the editor or literary proofreader reworks the material, using only those facts and conclusions that are in the manuscript. If possible, you should definitely contact the author (at least by phone) and get additional facts and examples, discuss the revised text with him and obtain consent for its publication. In the same case, when the editors have time, a copy of the revised manuscript should be sent to the author.
Sometimes materials from workers and rural correspondents, letters from readers, articles and correspondence from innovators - leaders in industry and rural economy - need editing and reworking. These people, not experienced in journalism, sometimes find it difficult to present the material so that it meets all the requirements. Therefore, a caring and attentive attitude to the editing and alteration of their materials is one of the most important duties of a Soviet journalist.
A. M. Gorky once said that in our country there are talented but illiterate people. They don't know how to write, but they have something to write about. The great writer advised to raise such people and help them. This help, of course, should not be replaced by writing for the author. Cultural level Soviet people It is constantly growing, and assistance to a novice author from the editors should be expressed in advice and friendly assistance.
Editing-cutting is usually caused by the fact that a newspaper, magazine or book has a certain format and volume and can only accommodate a set amount of material. Some of them have to be shortened during the editing process. Sometimes reduction is necessary for other reasons - it is necessary to remove repeated or unimportant phrases, unnecessary numbers, not very convincing evidence, etc. But in some cases, completely finished material must be reduced in size, crossing out part of the text. Let's assume that the material contains 200 lines, and the newspaper allocates 180 lines for it. 20 lines turn out to be superfluous.
Editing and reduction is done during the literary processing of manuscripts by employees of those departments that prepared the material.
Abbreviations during layout are carried out by the executive secretary, member of the editorial board on duty or the editor of the newspaper.
Some edited manuscripts are sent by the editors to the typesetting in advance (in reserve), before the layouts are compiled. It may be that some of them turn out to be slightly larger in size than necessary, and then they also have to be reduced. The need for cuts sometimes also arises when reversing lanes.
Abbreviations are made thoughtfully so as not to disrupt the composition of the material or distort its content. But sometimes this golden rule is not followed by editors. Two correspondents of the Leningrad branch of TASS spoke about one such case on the pages of the Journalist. Their conversation (120 lines) with the director of the new Astrophysical Observatory. Izvestia, which published this conversation, threw out specific facts, leaving only 27 lines of general "reasonings. Tazeta reader A. Sabelnikov, having read this abbreviated conversation, reproached the authors for disturbing the director in vain, since they did not cover many issues. It was not the authors who were to blame for this, but the editorial staff, who, without thinking twice, dealt with other people’s material.
EDITING-PROOFING consists of the final reading of the material prepared for printing in order to eliminate all individual minor spelling mistakes, stylistic and technical errors. Editing and proofreading is also done when checking the typed text with the original.
When editing and proofreading, you should be very wary of the reported facts, be sure to check in reference books, encyclopedias, and other sources for anything that raises even the slightest doubt. Violating this immutable law can have unpleasant consequences.
One such “incident” is described in the “Non-Musical History” published in the “Journalist”. It was about the first issue of the “Radio and Television Program” for 1969. It was edited very poorly, there were many annoying mistakes and Typos One page stated that Goethe wrote one of his plays in 1837, although everyone knows that great poet died in 1832. It was further reported that the director of the film “ Musical history"was Evgeniy Petrov. In fact, the film was directed by A. Ivanovsky and G. Rappoport. Petrov, together with G. Moonblit, wrote the script. The staff who made the program gave the famous chess player Kapablapka the name Hase, while his name was Jose, the famous German conductor W. Furtwängler was renamed Furtwängler.
You need to be especially careful with digital data, because it is incomparably more difficult to detect errors in them than in verbal text. Once "The Week" published information about the reconstruction of the Saimaa Canal. Its route, 57 kilometers long, passes through the territory Soviet Union and Finland through four lakes. The information contains the following phrase: “More than 2,500 thousand builders are currently working on the reconstruction of the Saimaa Canal, built back in 1856.” Is everything right here? No, the figure “2,500 thousand builders” is confusing... Let’s divide 2,500,000 (people) by 57,000 (so many meters in 57 kilometers). It turns out that for every meter (and there are 4 lakes on the route) there are 43.8 builders working. Nonsense? Yes. All the information was spoiled by just one word “thousands”, which turned out to be superfluous. The editors simply didn’t notice him, they let him through.
Central newspapers, weeklies and magazines have special verification bureaus. However, the pages of these publications contain many inaccuracies and errors. The magazine “Rabotnitsa” claimed that the construction of the second tallest television tower in the USSR - 271 meters (the first in Moscow - 537 meters) had begun in Georgia, but a tower with a height of 316 meters had long been built in Leningrad.
One of the central newspapers reported the following news: “The suburb of Leningrad, where the Dunes hotel boarding house is being built, is located on the shores of the Gulf of Riga.” But Leningraders correctly think that they live on the shore not of the Riga, but of the Gulf of Finland.
Should I read the information from TASS and APN? After all, many correspondents and editors worked on them. The vast majority of materials are written competently and well corrected. However, it is imperative to proofread these materials. In some cases, stylistic inaccuracies and factual errors creep into the information.
Thus, all types of literary editing are aimed at ensuring that each material meets the requirements of communist ideology and the principle of party membership, is impeccably literate, intelligible in language and style, accurate and truthful.
The quality of literary editing consists of many elements and depends on the preparedness, experience and abilities of the journalist, and his attitude to the matter.
During the editing process, attention should be paid to compliance with the basic requirements for manuscripts.
POLITICAL ORIENTATION. All articles, essays, correspondence and other materials, down to small information, must be of a combative, offensive nature, correspond to the spirit of the times, in assessing the facts, proceed from the decisions of the party and the government, and direct attention to the fight against everything that interferes further development our society.
The political direction of the material comes primarily from the author, but it can also be strengthened in the editing process. Let us illustrate this with two examples.
In an essay about the Far East, about meetings with interesting people one of the journalists cites his conversation with the cheerful driver Valery Malik, who boarded the bus at one of the stops:
They built a cultural center - you won’t find anything like this in Moscow!
Everyone listens to him, smiles slightly, furiously exaggerated: Valery, as he himself said, came to Far East about four months ago and have already fallen in love with this region.
Your mining town must be beautiful,” I say.
“It’s a good city,” said Malik, “but it’s not a miners’ city.” - Why?
Because there are no miners in Raichikhinsk. - How old are you? After all, Raichikhinsk is a city of coal. - A city of coal, but not a single miner. - Marvelous.
That's what! You probably don’t know how big our city is. From the center to the outskirts - thirty kilometers.
Something does not work. Raichikhinsk is larger than Blagoveshchensk]
More Khabarovsk, Chita, Ulan-Ude. - Maybe more than Leningrad? “Well, maybe even so,” said Valery.
Why did the author need such dialogue? To enliven the narrative part of the essay or to draw some conclusions from the conversation? No, it's literary device, having a certain political orientation. The author paints a living image of a simple, modest pariah who recently arrived in the Far East, one of those enthusiasts who came here at the call of the party to develop the untold riches of the region and fell in love with it and became close to it. And his cheerfulness, passion, love for his profession and for the young city in which he works serve as a good example for young men and women.
Political orientation of any literary work is determined by the main criterion: how this work serves, regardless of genre and size, aiming at communist construction, party politics, how it will enrich the reader ideologically, what it calls for, what it teaches.
CLARITY OF FORMULATION. When editing, serious attention is paid to clarity, clarity of each phrase, correct semantic combination words in order to use from the vast wealth of language those words and sentences that most accurately and convincingly convey the idea. When this is neglected, unclear and sometimes confusing formulations appear.
An editorial in one of the local newspapers carried the following phrase: “After the decisions were made, the cows began to produce more milk and meat." The vagueness of this formulation is obvious. It should have been about people who are struggling to implement decisions and have achieved significant success in animal husbandry.
The correspondence “Twenty years as a machine operator,” also published in a local newspaper, stated: “Ivan Alekseevich enjoys authority among the team of machine operators. He differs from others in his modesty and responsiveness.” It turns out that... these “other” people do not have modesty and responsiveness. So, because of unclear wording, the newspaper condemned the whole team. Vagueness, which can distort thought, is usually caused by carelessness in the construction of sentences.
PRECISION OF LANGUAGE. Some materials use words incorrectly in expressions. This often leads to ambiguity and misunderstanding of the idea being expressed.
Let's give an example. Gardener G. Zelentsov wrote in the newspaper: “So, the dwarf garden that I planted in the Ramensky district on swampy soil has been bearing fruit for the third year now.” The reader can understand that Zelentsov planted a small, miniature garden near his house. In fact, the article was about planting dwarf apple trees, which have advantages over tall trees. It would be more correct to write this phrase in the following way: “So, a garden of dwarf apple trees planted by me...” etc.
The following lines were published in one of the university newspapers: “Final year students are concerned about the choice of place independent work. After listening to a lecture about a little-known republic, they admire film footage depicting the gardens of Moldova... The students were also told about new cities that have grown in the north, east and other outskirts of your Motherland.”
It turns out that Moldova is a “little known” republic. This is, of course, an unacceptable mistake. Then, is it really possible to say that the “north” or “east” are the outskirts of our Motherland? The author used these words incorrectly, and the editors did not correct him.
The following phrase was published in one of the magazines: “The training group, engaged in improving the organization of party-political and organizational work, pays constant attention to the collective farm herd.” It turns out that the instructor group is working not among livestock breeders, but... in the collective farm herd.
Reasons for such ambiguity and inaccuracy may include; unclear idea, inept use phraseological expression, incorrect installation syntactic connections, the use of professionalisms, an unexpected combination of words, as well as the use in relation to animals of such expressions that are associated with ideas about people and human relationships.
Quite often, an error creeps into the original due to the fact that the author has a poor understanding of the semantic load that a particular word carries when, instead of the right word something similar is selected, but has a completely different meaning. So, instead of the word “forester” (forest watchman) they write “forester” (forestry specialist), “atomnika” (physicist, specialist in atomic energy) is confused with a “nuclear scientist” (a supporter nuclear war), instead of the word “foot and mouth disease” (animal disease) they write “lizard” (reptile); instead of the word “flock” (flock of sheep) - “koshara” (pen for sheep), instead of the words “radio amateur” (a person who loves to confuse the radio) - “radio amateur” (involved in radio engineering), etc.
Technical illiteracy also contributes to the penetration of errors. Here are a few gross typos made in various newspapers: instead of “stereoscope”, “stereotype” was printed, “rolling” was replaced by “folding”, “hydromonitor” - “hydraulic motor”.
SIMPLICITY AND CLARITY OF LANGUAGE. Integral quality literary materials Our seal is simplicity, clarity and clarity of language.
V.I. Lenin demanded “to speak simply and clearly, in a language accessible to the masses, decisively throwing away the heavy artillery of sophisticated terms, foreign words, memorized, ready-made, but still incomprehensible to the masses, unfamiliar slogans, definitions, conclusions”,
However, in the press, as a result of careless editing, there are verbose materials that are full of frequently repeated or unnecessary words, cliched or pretentious expressions, clericalism, and contain an abundance of numbers.
Some journalists believe that such cliches and stencils are inevitable in newspaper and magazine speech. This is, of course, not true. A stamp, stencilling is the result of inability or... the reluctance of individual journalists to diversify their language, to care about the expressiveness and freshness of their works.
Along with the excessively frequent use of template and cliché expressions, another problem is the pursuit of “beautiful” words and sentences.
In one of the newspapers there is correspondence about pupils kindergarten ended like this: “Children will consciously go into the great destiny of communism.” What does fate have to do with it?
Trying to talk about the work of an advanced machinist, another author clearly unsuccessfully used “beautiful” words. He wrote: “Budnikov moved the regulator, the ties and wheels began to grind.” Which railway worker doesn’t know that only rusty ties and wheels can grind? The following was the driver's speech; “There is a long climb ahead. This is where I made a mistake: I didn’t increase the acceleration in a timely manner, I didn’t accumulate manpower train and limped during the hardest kilometer.” At the end of the essay, the author flashed the following phrase: “We arrived at the turnaround point by the decanter, making up for being late.” It turns out that the delay “ran” ahead of the train...
Some materials in newspapers and magazines unnecessarily contain a lot of technicalism, foreign and complex abbreviated words. Readers are sometimes forced to guess. puzzles. Here are some examples:
Having given such an order, the dispatcher committed a violation of the technical regulations...
Neither NITO, nor BIH, nor OGK intervened in this matter...
It is necessary to cut scrap in workshops into dimensions and mark them according to the nomenclature of steel grades...
The physiological mechanism of action of the above factors...
During literary processing, all these “PTE”, “NITO” and obscure foreign words could easily be deciphered, explained or replaced with others understandable to every reader.
In "Electrosila" - the newspaper of the Leningrad electrical machine-building association "Electrosila" named after S. M. Kirov - employees invented a new word "kadobraz" and widely use it in columns and text. The strange word is deciphered as follows: “The road to quality is a barrier to defects.” The example is not instructive for other editions.
The Party Central Committee has repeatedly indicated that propaganda and agitation should not be abstract, but concrete, supported local facts and numbers. Two or three numbers in an article or essay will sometimes give the reader more than lengthy ones general provisions. Numbers support reasoning and conclusions. But they must be used skillfully.
In one of the articles in the magazine “Poligraphy” there is the following paragraph:
Some economic indicators the work of our printing house confirms the benefits of specialization: the team’s seven-year production plan was completed ahead of schedule, on July 15, 1965; output per worker over the seven-year period increased by 49% and amounts to 4,493 rubles. in year; production costs over the seven-year period were reduced by 17%. According to reporting data for 7 months of 1965, costs per 1 rub. finished products amount to 56.1 kopecks, including wages 26.7 kopecks, materials - 16.9 kopecks, depreciation - 7.2 kopecks, fuel - 1.6 kopecks, electricity - 1.7 kopecks, other - 2.0 kopecks; The turnover of working capital for 1964 is characterized by the figure eight, the volume of work in progress in relation to the monthly volume of output averages 40%.
The figures, which are interesting in themselves, were used ineptly by the author, grouped in one place, without analysis in the middle of the article.
Only the most important and interesting numbers, do not abuse them. One or two numbers will remain in the readers’ memory for a long time, but dozens will be forgotten.
When editing, be sure to check the digital data and their accuracy, otherwise errors are inevitable. For example, one article stated: “A few grams of vitamins constitute a ten-thousandth of a person’s total daily food requirement.” A simple arithmetic calculation shows the absurdity of this statement. It turns out that if a person ate 5 grams of vitamins, then he needs 50 kilograms of food per day! It's an obvious nonsense.
Whatever the shortcomings in the style and language of the manuscript - the inexperience or negligence of the author or other reasons - they need to be thoughtfully corrected in the process of literary editing.
When working on the language of manuscripts, one should remember the wonderful advice of the great artist of words A. M. Gorky, who called for writing about people, about life so that every word sings and shines, so that unnecessary words in the phrase there was no way that each phrase would absolutely accurately and vividly depict to the reader exactly what you want to show. Knowing and respecting the language, expressing it impeccably orally and especially in writing is the primary duty of newspaper workers.
LITERARY EDITING TECHNIQUES. The overwhelming majority are edited originals, i.e. author's manuscripts typed on a typewriter. Only minor corrections are allowed in galleys or finished pages - correction of errors made during typesetting, noticed inaccuracies, reductions. Unsuccessful formulations and sentences are corrected in the original. The editor checks “quotations, tables, diagrams, drawings, names, names of factories, collective farms, etc.
All corrections in the original are made in ink, and special correction marks are used (see pp. 343-345). If a word or phrase needs to be deleted, it is simply crossed out. Single words or sentences are written between the lines or in the margins. IN the latter case graphically indicates where the insertion should be located in the text.
Once the manuscript has been edited, it is read through again. Practice shows that careful re-reading sometimes reveals not only lexical, grammatical and stylistic, but even factual errors that were not noticed before. A carefully proofread manuscript is submitted for typesetting.
is a specialist who prepares an author’s text for publication. He corrects the text at his own discretion, which sometimes does not coincide with the opinion of the author. So, the editor is the last barrier between the author and the reader. Creative personalities For many centuries they have been waging an endless struggle among themselves. However, writers go for it because the editor's edits often make sense. A literary editor who specializes in finding inaccuracies protects the author from his own mistakes.
What does a literary editor do?
Editing - Team work over the text of a literary editor and writer in order to improve its form and content. This is the main link in the process of publishing material for publication. This process depends on the specialist’s ability to find new ideas and solutions. This specialty is important because it is the editor who serves as someone like, evaluates and verifies the reliability of the facts referred to by the author in the manuscript, substantiates the author’s thoughts, argues conclusions, clarifies definitions and the sequence of presentation. The editor, by correcting gross errors, helps young writers achieve clarity and simplicity of presentation of the text.
An independent editor pays attention both to the work as a whole and to each section separately, eliminating the main shortcomings. The editor's responsibilities include penetrating into the emotional world of the writer and bringing the manuscript to an ideal that is understandable to all readers. When correcting the text, you must remember its target group(specialization in medical, legal or technical fields). In such cases, reliable sources (encyclopedias, dictionaries and reference books) will be able to help him. The most time-consuming part is deep editing.
What should a literary editor be like?
A literary editor must have an excellent knowledge of the Russian language, be attentive, patient, unbiased and possess analytical warehouse mind. And most importantly, he should not automatically correct mistakes, but should love what he does.
He must be able, by slowly and scrupulously reading the material, to give critical assessment the meaning of the entire text, and also notice all typos and basic spelling errors. To a professional specialist, like , you need to respect the author’s presentation style and not make unreasonable amendments to the text. He will not risk adding words or correcting the meaning of the text on his own.
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Text as an object of literary editing.
Literary editing– this is a single process that includes the analysis of an author’s work both from the point of view of its content, factual correctness and accuracy, and from a literary point of view; and subsequent editing of the text.
Editor's workflow above the text:
setting the editing task - can be dictated and clarified both by external circumstances and by the qualities of the material itself: volume, genre, the need to emphasize the connection with current events, the form of contact with readers;
creating a behavior model: either send the material for revision, or work with the author, or the editor himself edits;
text editing process.
The following are distinguished: types of editorial reading: 1) introductory (attention is paid to the content, idea, theme, manner of presentation and evaluation of the text as a whole); 2) in-depth reading (attention is directed to the perception of each word or sign, phrase, sentence, text; notes for each part); 3) grinding reading (final stage).
Types of errors when editing text: 1) mechanical; 2) actual; 3) compositional; 4) logical; 5) grammatical; 6) stylistic.
One of the main types of errors when editing text are logical errors.
Logical error is a violation of any of the four laws of formal logic:
Law of non-contradiction– may be violated when contradictory numerical data and facts are presented. An example is any double certificate.
Law of the excluded middle: Of two contradictory propositions, one is true, the other is false.
Law of Identity. In the process of a certain reasoning, all concepts and judgments must be identical to themselves. Both the author and the reader must equally perceive the same concepts and events about which we're talking about. Every thought, every word must have a certain content.
Law of Sufficient Reason. Every true thought must be justified by other thoughts whose truth has been proven. This law directs the editor to check the accuracy of the material.
Literary editing is a single process that includes the analysis of an author’s work both from the point of view of its content, factual correctness and accuracy, and from a literary point of view, and its subsequent editing.
The main characteristics of the text: integrity, coherence, fixation in a certain sign system, information content.
The integrity of the text “is ensured by a semantic thread that must run through the entire text.” The editor's job is to find this thread. Integrity is achieved by the unity of concept and accuracy of text construction, clarity of logical development of thought, and stylistic unity of the text.
Connectivity. Each phrase must include the meaning of the previous one. It is necessary to anticipate dual interpretations of the text.
Fixedness. Remember the difference oral speech from writing. Paragraphs, graphics, punctuation are of great importance.
Information content. Journalism requires new information.
Types of editing:
Editing and proofreading – shortcomings are identified.
Editing reduction – volume decreases.
Editing processing – preparation for final publication.
Editing and reworking is the creation of a new version of the text based on existing material.
The text is understood as the result of purposeful speech-creative activity, as a written source, as a speech work. The text is presented as a consciously organized result of the speech process, as a thought clothed in a certain form to express a certain meaning.
Peculiarities of editing newspaper materials: the editor cannot but take into account the nature of the publications, their information content, and the specifics of expression author's position, the proximity of the author to the event and the reader, working conditions in the editorial office, its efficiency.
Main characteristics of the text integrity, coherence, fixation in a certain sign system, information content. It seems erroneous and harmful to interpret the purpose of literary editing as merely processing the language and style of a work being prepared for publication, which can still be found in editing manuals. The editor's tasks are immeasurably broader and deeper.
The integrity of the text is ensured by a semantic thread that should run through the entire text. Revealing this thread, going from external meanings to meaning, is the editor's primary task. His assessment of the integrity of the text proceeds in two directions: analyzing it as an organic unity and identifying the completeness and accuracy of its constituent elements. Striving for the whole, never forget about the parts, and, while working on the parts, always see the whole - this is how experienced editors formulate this task. When analyzing the components of the text, the editor must demonstrate deep and comprehensive knowledge of the subject and broad linguistic erudition. The integrity of the text during editorial editing requires the preservation of semantic identity.
Principles lit. editing was already formulated by Bylinsky in his book “Literary Editing of a Newspaper”: the duty of a literary editor is “checking and correcting the text as a literary whole.” The technique he created did not allow for the possibility of relying on instinct, on whether a phrase “sounds” or “does not sound.” Special attention“The editor requires smooth, impeccable phrases at first impression,” he warned. You can't rule blindly. Before editing, it is necessary to accurately establish the shortcomings of the entire text and identify its meaning.
General scheme of the editor's work on the text:
receiving the information;
formulation of the problem;
creating a behavior model and a diagram of expected results;
actions and the results corresponding to these actions.
The volume, genre, the need to emphasize the connection with current events, the form of contact with the reader can be planned in advance, and the type of editing can be determined. The editor then decides how he will act - this is how the third component of the scheme is deciphered. The editor can send the material for revision, can work on the text together with the author or alone and choose the technique that, from his point of view, is the most rational in in this case. The visible actions of the editor, in particular the process of editing the text, are only the last, final stage of editing.
Speech errors in the text
A speech error in a text is usually interpreted primarily as a deviation from the language norm. However, the nature, origin and consequences of the irregularities found in the text are different, and their assessment is often extremely difficult. Errors in writing and technical reproduction of text are usually divided into errors of incorrect reading and memorization of a word or group of words, errors of incorrect translation into inner speech, and mechanical errors. Headings, section titles, and headings require special attention from the editor.
When reading a text, deviations from the norm inevitably come into the editor's field of vision, perceived as violations of generally accepted rules of writing. The most strictly regulated actions of the writer are spelling rules. spelling error in printed text is perceived as disrespect for the reader. Often, a statement recorded in a text contains several meanings, and the error is a consequence of an unsuccessful choice of one of them or the inability to manage the means of language.
Communication features of the editing process
In the system represented by the author > editor > reader diagram, the text of an entire literary work acts as a unit of communication. Fixing the relationship that arises between the reader and the author thanks to the editor, who acts not only as a mediator, consciously influencing communication in the direction from the author to the reader, but also as a representative of the reader’s interests to the author.
The psychology of literary creativity is focused not only and not so much on the real reader, but on the idea of the ideal reader, which is always formed in certain social conditions. The position of a real reader and the idea of an ideal reader do not always coincide, therefore one of the editor’s tasks is to correct these ideas, to determine the necessary measure of coincidence of the concepts of “ideal” and “real” addressee of the text. For a newspaper, you should write in such a way that both an academician and a carpenter will read what is written with equal interest, although today it is unlikely that everyone reads all newspaper publications in a row. The general availability of meaning should not be understood as the averageness of form. If information genres are publicly available, the analytical article is designed for a reader of a certain level of preparation. When, in an effort to write clearly and understandably for the artificially constructed “average” reader, deliberate simplifications are made, serious creative miscalculations are inevitable.
The communicative function of the text requires the editor to pay attention to the techniques by which contact with the addressee is achieved.
The relationship between editor and author has never been simple. The limits of editor intervention in the author's text is a complex not only philological, but also an ethical problem. Do not suppress the personality of another individual, do not demonstrate the power given to you, but help the author realize his capabilities as fully as possible - these premises underlie the professional ethics of the editor.
The originality of the editor's literary work
The editor should not write for the author. This is an immutable rule of modern publishing practice. The boundaries of editorial creativity are defined quite strictly, and yet the literary work of an editor is creative work, implying the need to actively master new knowledge, comprehend the originality of the author’s thinking and style, and help him achieve the unity of the form and content of a literary work. Move creative process different for the author and editor. If the author comes to the creation of a literary work from observations of reality, from the study of life, comprehending and generalizing them, then for the editor the starting point of the creative process, the impulse of his literary work is the completed work of the author. The editor's field of view inevitably includes not only the text itself as an object of knowledge, but also the entire complex set of relationships reflected by it: the nature of the generalizations made by the author, the relationship and interdependence between these generalizations and reality. At the same time an editor and a strict analyst. He compares the author’s idea with the level achieved by modern scientific knowledge, evaluates the conclusions, clarifies the methods of presentation, predicting the reader’s perception of the text. In the process of his work, the editor inevitably reveals himself as a person. Each editor has the right to his own editing style, his own methodology and working methods. Obviously, to become a master, you need a certain literary talent, you need to have the ability to visual perception text, show a penchant for philological research, a desire to learn, accumulate knowledge and do this consciously and purposefully. These personal qualities editor - the prerequisites for him to achieve mastery.
The relationship between editor and author is always complex. In an effort to comprehend the features of the presentation, the author’s train of thought, the editor to a certain extent identifies himself with him, but maintains independence, comparing his understanding of the work, his interpretation of reality, and his life experience with the author’s.
Text editing process
During an in-depth reading of the text, the editor achieves an accurate assessment of it and usually only then begins editing. Editing must be done during in-depth reading, and then, immediately before submitting it for typing, review the entire text again.
A skillfully carried out transformation does not violate the integrity and coherence of the text. The editor has the right to choose an editing technique, but this technique must be accurate, justified, and it must be applied skillfully.
Construction of a literary work
The integrity of the text largely depends on the editor’s work on the composition of the author’s work. Improving the design of a literary work is an essential and usually the first stage of its editing. Only after making sure that the work is “constructed” can you move on to working on the details, polishing the language and style. The construction of a literary work is determined by the general laws of composition.
It is customary to distinguish between the composition of a work of art, which is based on a plot, and the composition of a work not related to fiction, which is based on a plan. The composition of information publications pursues the goal of conveying information, accurately conveying facts, using for this purpose stereotypes of construction developed by practice. The concept of “composition” is broader than the concept of “plot”, and only the study of composition allows one to evaluate the author’s intention in all its originality and complexity, helps to clarify the role of various extra-plot inclusions - lyrical digressions, various compositional frames and other author’s techniques. The more complex a work is in concept, the more complex its composition is usually, reflecting various shifts in time, introducing a story from the perspective of different characters. Clarity of construction is a necessary requirement for works of journalism. The art of a publicist implies as a prerequisite the thoughtfulness of the composition and the ability to organize the presentation.
Analysis of the structure of a literary work
Any construction always presupposes the presence of parts that should be arranged in a certain way. It is no coincidence that in literary studies, along with the term “composition,” the term “architectonics” is often used, and the work of a writer is compared with the work of an architect. The terms “construction”, “construction”, “strength” are often used when it comes to practical methods of literary work. Mass media materials are usually small in volume. The entire publication is usually in front of our eyes, and the integrity of the text should be obvious. The specificity of the literary form of mass media materials puts the series before the editor special problems when working on a composition and makes the requirements for the construction of these materials more stringent.
The boundaries of the parts of the author's material must be precisely defined, and the structure verified. The desire to quantitatively equalize the parts always brings only harm. On a newspaper page, continuous text looks boring, so it is often artificially broken up at the last stage of preparation of the issue. The damage that this causes is all the more noticeable because the need to highlight parts of the text larger than a paragraph usually arises when the material is not only significant in volume, but also complex in content. The identification of units of structure can be approached on the basis of various principles (substantive, logical, oriented towards the psychology of the reader). Each of these principles is essential for an editor.