We have just completed work on Blue Scars by Glenn Lee, a poetry collection from the South Wales valleys. ‘Blue Scars’ of the title refers to coloured scar tissue on the hands of miners caused by coal dust and the poems evoke the texture of life and work in the Welsh Valleys from the 1950s. They are frequently elegaic, sometimes regretful and always honest and moving. Many of them have been performed at meetings of the Anglo-Welsh poetry Society.
We have been delighted to discover that Mike Willmott, a well-known Shrewsbury editor and colleague, is the descendent of illegitimate progeny of John Wilmot, 1647-1680, Second Earl of Rochester. John Wilmot was perhaps the most licentious of the Restoration poets, in fact much of his output is too flagrant to post on this blog. Mike is himself a poet although nothing should be inferred from his antecendents. Bob takes a particular interest in John Wilmot because Wilmot was at one time appointed ranger and keeper of Woodstock Park by Charles II – and Woodstock is where Simon Hatley the ‘real’ Ancient Mariner came from. Rochester once ran naked in the Park with a companion, ‘upon a Sunday afternoon, expecting that several of the female sex would be spectators but not one appear’d’. We’ll leave it there.
MSS EUR D546 1-33 may not be everybody’s idea of a good read but it is meat and drink to some of us. The numbers refer to a collection of private letters between India and England written 1720-1780, held at the British Library where I have just spent two wonderful days. The women’s letters are of particular interest but the men’s are not half bad. I came across them originally through a family connection. An extract may help to justify my obsession:
Letter from Robert Clive, London, to Luke Serafton, Bengal, 2 December 1770, introducing Joseph Fowke (Lady Clive and Joseph’s deceased wife, Elizabeth, had been close friends) who had lost £18,000 ‘at play’ and hoped to return to India to recoup his fortunes:
‘’I need not trouble you with the history of Joseph Fowke – you know his passion for play. I could not refuse him letters of introduction to my friends in India, & as I have always understood him to be a man of principle & sense, tho’ not common sense, I cannot help wishing you would give him all the assistance in your power to rescue him from his present state of distress.
We have just completed work on Professor Philip Dark’s vast, 670-page anthropological work Craftsmanship and Art. It was left uncompleted when Professor Dark died some years ago. An extraordinary book. One of its strengths is that much of the research was conducted in the period 1955-1980, since when many of the practices it describes have been abandoned. The following from the index gives a brief glimpse of its breadth:
Ute Indians
basketry 320
currency of dessicated fingertips 440 Wodabe people
cicitrization 370
hair of women 411
pack oxen 294
stretching of children’s limbs 403
Professor Dark was a remarkable man, a hero of the wartime raid on St. Lazare. It was while in prison camp in Germany that he first became interested in anthropology.
We’re hoping the book will find a home in academic libraries in the Pacific region and the Americas. It deserves to be widely distributed.
YouCaxton Publications began life in the 1980s as Lazy Summer Books Ltd., the Oxford-based publishing and book design company. They have been creating high-quality books for over thirty years. They provide publishing services to authors wishing to self publish and they develop finished books for other publishers, managing the entire process from commissioning through to print, including design, research and editorial. They also publish a small number of their own books each year under the YouCaxton imprint.
Authors who choose to self-publish with YouCaxton have access to all the editorial, production and design services available to commercial publishers and have full use of our unique author-management system. The author is always in control and decides what they would like to do themselves and what they would like YouCaxton to do for them.
YouCaxton Publications began life in the 1980s as Lazy Summer Books Ltd., the Oxford-based publishing and book design company. They have been creating high-quality books for over thirty years. They provide publishing services to authors wishing to self publish and they develop finished books for other publishers, managing the entire process from commissioning through to print, including design, research and editorial. They also publish a small number of their own books each year under the YouCaxton imprint.
Authors who choose to self-publish with YouCaxton have access to all the editorial, production and design services available to commercial publishers and have full use of our unique author-management system. The author is always in control and decides what they would like to do themselves and what they would like YouCaxton to do for them.
YouCaxton Publications began life in the 1980s as Lazy Summer Books Ltd., the Oxford-based publishing and book design company. They have been creating high-quality books for over thirty years. They provide publishing services to authors wishing to self publish and they develop finished books for other publishers, managing the entire process from commissioning through to print, including design, research and editorial. They also publish a small number of their own books each year under the YouCaxton imprint.
Authors who choose to self-publish with YouCaxton have access to all the editorial, production and design services available to commercial publishers and have full use of our unique author-management system. The author is always in control and decides what they would like to do themselves and what they would like YouCaxton to do for them.
YouCaxton Publications began life in the 1980s as Lazy Summer Books Ltd., the Oxford-based publishing and book design company. They have been creating high-quality books for over thirty years. They provide publishing services to authors wishing to self publish and they develop finished books for other publishers, managing the entire process from commissioning through to print, including design, research and editorial. They also publish a small number of their own books each year under the YouCaxton imprint.
Authors who choose to self-publish with YouCaxton have access to all the editorial, production and design services available to commercial publishers and have full use of our unique author-management system. The author is always in control and decides what they would like to do themselves and what they would like YouCaxton to do for them.
When you have produced the final draft of your book, it is always advisable to have the text read and checked by a professional editor or proof reader.
You may have friends that are willing and competent to do this and we can advise you on the type of editing that is required.
We can offer four levels of editing as well as proof-reading.
You choose which, if any, are appropriate in your case: 1. Edit of sample pages and short report (£30)
We will edit a few pages to highlight editorial issues so that you can look for similar problems throughout the book.
This will reduce the amount of further copy-editing required when the book is finished. 2. Broad structural editing and criticism (£5 per thousand words)
A structural review is particularly relevant for works of fiction.
The structural reviewer will address the following main areas and produce a short report for the author ” Read More 3. Copy editing (£10 per thousand words)
A copy-editor takes a close look at your text, line by line, with an eye to grammatical errors, repetition, inconsistency and lack of clarity. The copy editor will make changes to the text, with suggestions for rewriting, grammar, and punctuation. When you receive the edited version, you have the final choice about accepting of rejecting the individual changes. 4. Proof Reading (£8 per thousand words)
Proof reading is a line-by-line check that the book is ready for publication. Proof readers will make small corrections for punctuation, grammar and spelling but they will not make significant changes to the text.
A proof reader will identify any significant issues and add comments to the text so that you can make those corrections yourself. 5. Consistency Scan
If you decide your book doesn’t need a full proof reading, we offer an electronic scan to search for common errors and inconsistencies. This looks at issues such as inconsistent spelling and inconsistencies of hyphenation and capitalisation.
We can also identify inconsistencies in the spelling of proper names. 6. Cover text
The quality of the text on the cover is very important as it indicates the quality of the writing in the book.
The title, sub-title and back-cover blurb are all important elements and we can work with you to make sure that these are correct and effective.
Copy Edit
Copy-editors get the raw material into shape for publication i.e they edit the copy.
When they have finished, the designer can lay out or typeset the book and produce a proof.
It is quite normal for the author to make additional changes after a book has been copy-edited.
Working through the material, the copy-editor may identify errors in spelling, punctuation, grammar, style and usage, but also very long sentences and overuse of italic, bold, capitals and exclamation marks.
They should correct or query doubtful facts, weak arguments, plot holes and gaps in numbering.
In fiction, they should also check that characters haven’t changed their name or hair colour, look for sudden changes from first to third person among other things.
The Copy-editor is not a proof reader and should not be expected to find all of the errors in the text particularly if the text is badly written to start with.
This is the job of the proof reader.
The final proof should be checked by a proof reader or an experienced reader friend before going to print.
It is almost inevitable (and acceptable) to miss a few errors which can be corrected in a later edition.
Proof Reading
Proof reading is a line-by-line check that the book is ready for publication.
Proof readers will make small corrections for punctuation, grammar and spelling but they will not make significant changes to the text.
A proof reader will identify any significant issues and add comments to the text so that you can make those corrections yourself.
If you have decided to complete this stage of the process yourself, we will send a detailed check-list to help you.
We ask you to try and ensure that the book is completely ready before we start the layout.
Once the layout has started, we expect that you might want to to make a small number of amendments but
if there are a significant number, we may need to charge for the extra time it takes to change the layout
so best to discuss this with us first.
Structural Review
In fiction, the main areas that a structural editor will address are:
Plot: Does the plot make sense? Is it believable? Is it satisfying or does it leave the reader frustrated? Themes: Are the themes effectively handled? Are there so many that the book lacks focus? Do they interfere with the plot or complement it?
Characterisation: Are your characters well developed and believable? Are they cast in a role that fits their personality? Do they sometimes behave out of character? Point of view/voice: Is the voice consistent or is it sometimes confused? Is the voice authentic? Are you using too many or too few POVs? Pace: Does the plot move forward at an appropriate pace? Should you cut that preface? Should the action happen sooner or should the tension build more slowly? Dialogue: Do your characters sound real when they speak? Is your dialogue cluttered with adverbs and beats? Do you use clunky dialogue to move the plot forward? Flow: Is the narrative interrupted by dead-ends and tangents? Is there so much back story that the main plot is dwarfed? Are there missing plot points that would give the narrative greater integrity?
In non-fiction, the principle is the same, but the specific issues are slightly different:
Thesis: Is your thesis relevant? Is it clearly defined or is it lost among marginal issues? Exposition: Are your arguments clear and cogent? Are they well researched and properly supported? Do they have a clear relationship with your thesis? Content: Are all the necessary topics sufficiently dealt with? Are the chapters weighted correctly? Is there superfluous content? Organisation: Is the information organised logically? Are tables and illustrations used appropriately? How many levels of subheads do you need and how should they be arranged? Tone: Is the tone appropriate for the audience? Do you need to eliminate jargon? Is the text accessible? Pace: Are there passages that are bogged down in detail? Do you spend too long on detail irrelevant to the main thesis? Are there areas that need further exposition lest they be skipped over?
Cover Text
The quality of the text on the cover is very important as it indicates the quality of the writing in the book.
The title, sub-title and back-cover blurb are all important elements and we work with you to make sure that these are as effective as possible.
Consistency check
If you decide your book doesn’t need a full proof reading, we can run an electronic scan to search for common errors and inconsistencies.
This looks at issues such as inconsistent spelling, hyphenation and capitalisation.
It also checks for consistent formatting of numbers and dates as well as undefined abbreviations.
Subsequent Script Edit
It is very normal and generally beneficial for the script-editing process to go through at least a couple of cycles
i.e. the rewritten draft to be worked through once again by an experienced script practitioner – though this would be entirely at the discretion and behest of the writer.
Full Script Edit
The script that you deliver to us will probably constitute what the industry would classify as the ‘Initial Rough Draft’, i.e. a full screenplay written without any other professional input or advice, and probably without a great deal of rewriting. We work through your draft, line by line, scene by scene, and come back to you with a comprehensive set of notes from which you can then work towards the official ‘1st Draft’. Some of our notes will be broad and general, dealing with such areas as the overall shape and structure, pacing, plot and character development; others will be far more specific, with corrections, clarifications and suggested cuts etc. It is of course entirely up to you whether or not to take these suggestions on board, and to what extent.
Ongoing Support
We aim to make your self-publishing venture an enjoyable and rewarding experience.
Publishing is a complex business and we treat every book as a separate project.
We explain all of the stages at the outset and we manage the project schedule for you. This will include all of the expert services you have requested for editorial, design, printing, distribution and collection of royalties, keeping in close contact with you throughout the process.
You will be allocated a project-sheet on the YouCaxton website so that you can monitor progress and ensure that all stages are properly completed.
If you would like to see an example of a Project-Sheet…
go to My project on the menu and enter…
Username: Sample
Password : welcome.