The copy edit and the legal read

Putting DOGLAND through its paces, plus my weekly shareables: A beloved podcast wanders toward an ending, a renowned editor retires, and a famous singer searches for his voice

You are looking live (as the NFL announcer Brent Musburger used to say) at one of the many, many, MANY questions the copy editors of DOGLAND have noted in my manuscript.

I am right in the middle of reading through their comments—I got the edited version this past Monday, and it’s due back to the publisher this coming Monday. I’ll definitely be working this weekend. There are questions about dates, questions about numbers, questions about commas, questions about capital letters, questions about how a sentence is phrased, questions about where I got information from, questions about whether I used the word “vibe” too many times. (The answer to that one is yes.)

When I scroll through the manuscript on my screen, the questions pop up in little bubbles off to the right. It’s called Track Changes mode in Microsoft Word and similar programs. If I agree with a change, I make it; if I want it to stay the same, I create my own little bubble and type in STET (an old proofreading term; it’s Latin for “let it stand.”) Sometimes I’ll add or change stuff on my own and explain why. The copy editor might push back a bit in the next round. We’ll come to some agreement and move on until we’re clear on everything.

Also on Monday, I had a phone call with a lawyer hired by the publisher to give the book what’s called a “legal read”—a reading to see if there’s anything in the book that would possibly get us sued. Most every nonfiction book, at least the ones by major publishers, get a legal read. I’m not dealing with national security secrets or anything, so my call was fairly short. The questions fell into two general areas: Did the people who talked to me know I was writing a book? And when I quoted someone else’s work—a song lyric, for example—was it a small enough percentage to qualify as fair use? You can’t just print the lyrics to “Tangled Up in Blue” without getting permission from and/or writing a large check to Bob Dylan. (I want to assure everyone right now: there are NO Bob Dylan lyrics in my book. Just in case you’re allergic.)

All this might sound tedious and/or terrifying. But it’s actually a good thing. In fact, a wonderful thing.

Going through these layers of edits is like pressure-washing your house. There’s a lot of noise, and it can get messy, but when it’s done the place looks like a million bucks. With every round of edits I feel more confident that the book is fair and accurate. And along the way I always find little stylistic things to tweak that make it a better read, too.

When I talk to aspiring writers about the process, I always see some of them cross their arms in defiance. No one is touching their words. Their words are gold dust sprinkled on the page. But as Alix and I always say when a politician makes some dumb statement or a CEO sends out a horrible memo: Everybody needs an editor. (Alix, a world-class editor, most definitely knows what she’s talking about.)

Yes, I’ve been edited poorly at times. Yes, I’ve written for a couple of magazines whose editing structure resembles a demolition derby. But by and large the editors I’ve worked with have made my reporting deeper and my writing sharper. And they’ve saved me from countless embarrassing errors.

And even though it’s a grind to go back over the manuscript again and again, it’s also a lot of fun. With every pass the book comes a little more into focus. By the time you get it in your hands, it will be as shiny and clear as we can make it.

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(While we’re on that “get it in your hands” idea … I hope you’ll consider preordering DOGLAND as a gift for the dog lover in your life this holiday season. You can pick up a goofy dog card at the store and write them a note saying the book will be there in April. As I’ve mentioned here once or twice*, if you preorder from Park Road Books, I’ll sign and inscribe the book however you like. But if you’d rather order from your local bookshop or somewhere else, that’s fine!

*I have mentioned this 587 times.

Preorders are the lifeblood of authors—they help publishers gauge interest, which helps in scheduling book tours and such. They also boost the chances of a book making the bestseller list. If you’re on the fence about when to buy the book, go ahead and get it now! By the time April comes around, it’ll feel like you got it for free.

10 things I wanted to share this week:

1. My weekly for WFAE was a thought about what Nikki Haley is really running for.

2. Michael Stipe, former lead singer of R.E.M., is inching toward a solo career … if he can get out of his own head. Written by Jon Mooallem, one of the best longform writers around. (NYT Magazine)

3. Every time I mention R.E.M. here, I am obligated by law to link to a post I wrote back in 2011 about what that band meant to me. And still means to me. (Tommy’s Table)

4. Anna Sale, creator of the brilliant podcast DEATH, SEX & MONEY, found out not long ago that the podcast will end in its current form at the end of the year. It might survive in some future version, but they held a memorial service for it anyway. This is how you go out. (New Yorker)

5. DOG NEWS: From now until DOGLAND comes out (April 2024!), I’m devoting this slot to dog stories. This week: The fascinating and true story of the woolly dog. (Washington Post)

6. Speaking of editors: Benjamin Dreyer, author of the style guide DREYER’S ENGLISH, is retiring from Random House. He looked back on his career in words. (Kirkus Reviews)

7. My friend Kim Cross has a gift guide for reporters and writers that has me salivating about pretty much every item on the list. (Nieman Storyboard)

8. RIP the brilliant Andre Braugher (NYT). I imagine more people know him these days for his turn in BROOKLYN NINE-NINE, where he was the funniest part of the show by playing it perfectly straight. But to me he’ll always be the genius detective Frank Pembleton on HOMICIDE: LIFE ON THE STREET, which tragically is not available on streaming.

9. A year-end list I always look forward to: The Bitter Southerner’s Best Southern Albums.

10. Since I read that Michael Stipe profile I’ve been mainlining old R.E.M. … here’s their network TV debut on the David Letterman show from (gulp) 40 years ago, featuring “Radio Free Europe,” “So. Central Rain” and an awkward interview in between.
    
    

    
    Have a great week, everybody.