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July 30, 2008

Letter to the (sub)editor

Reader CFG points out this gem: Giles Coren takes on the Sunday Times sub editors who fucked up his copy. The editors respond here, biting back with the deadly t-shirt offensive.

I don’t really like people tinkering with my copy for the sake of tinkering. I do not enjoy the suggestion that you have a better ear or eye for how I want my words to read than I do. Owen, we discussed your turning three of my long sentences into six short ones in a single piece, and how that wasn’t going to happen anymore, so I’m really hoping it wasn’t you that fucked up my review on saturday.

It was the final sentence. Final sentences are very, very important. A piece builds to them, they are the little jingle that the reader takes with him into the weekend.

I wrote: “I can’t think of a nicer place to sit this spring over a glass of rosé and watch the boys and girls in the street outside smiling gaily to each other, and wondering where to go for a nosh.”

It appeared as: “I can’t think of a nicer place to sit this spring over a glass of rosé and watch the boys and girls in the street outside smiling gaily to each other, and wondering where to go for nosh.”

There is no length issue. This is someone thinking “I’ll just remove this indefinite article because Coren is an illiterate cunt and i know best”.

Normally, I couldn’t give a shit about a few words in a newspaper review, so long as meaning isn’t changed. But I once wrote a piece on assignment for a major paper that shall remain nameless. It was a very personal essay about my experiences on 9/11 and the wording and content of it was extremely important to me. I told the editors directly that it wasn’t to be changed without my consent. They tried numerous times to wriggle the essay away from riffing on the responsibility of art in times of tragedy (how the whole idea was sold to me in the first place) and concentrate purely on the prurient details of the morning’s disaster, and I kept resisting these changes and threatening to pull the whole thing off the table. Anyway, after assurances upon assurances that we’d reached an agreement, someone went ahead and cut the fucking thing up anyway. At the time, it felt like a major betrayal that merited the printing of an abusive t-shirt. I’ve calmed since then.

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5 comments on “Letter to the (sub)editor”

  1. Ingrid says:

    The icing on the cake is that Giles Coren’s rant was published without using the services of a single subeditor. Note the mistakes… Hilarious.

  2. cfg says:

    The rant was “leaked” to the Guardian, on whose blog it appeared. Maybe by Coren himself. But I have to say I feel the guy’s pain. The idea of reaming a snot-nosed editor who insists on mauling my copy is mighty appealing. I once came close to that with an editor of a national magazine.

  3. Gorch says:

    Having worked as an editor myself, I’m highly sympathetic to these two sub-editors when they write: “If you could only see the state of some of the raw copy we have to knock into shape. It’s badly structured, poorly spelt, appallingly punctuated, lazily researched . . .” and “Strange as it may seem, many writers do not possess your grasp of language; indeed it is sometimes difficult to believe that English is their mother tongue, and they don’t give a damn about what they produce because they know that a good, often highly educated sub-editor will correct it, check it and turn it into readable prose.” It’s amazing, the number of talentless enthusiasts out there who get to call themselves writers just because someone has published their writing.

    At the same time, my sympathies lie one hundred per cent behind Giles Coren. That E-mail has been floating around for a while now, leaked with the tacit purpose of embarrassing him. We, like whoever leaked it, are supposed to marvel at his pettiness and his outsized reaction over one little indefinite article. Lost in this is the fact that Coren is absolutely right: it was a shit edit. And it reflected on him, not on the sub-editor who made the edit.

    And besides: what passion! We should thank our lucky stars that there’s a food critic out there who knows his job so well and takes his profession so seriously. I wish everyone, no matter what they do for a living, held themselves accountable to such high standards.

  4. pete says:

    I interviewed Michael Redhill for a daily newspaper (I won’t mention which one; suffice it to say it belongs to a large and ubiquitous Canadian media conglomerate). When I asked what subject matter he might tackle next, Redhill said he has catholic tastes. Someone at the newspaper capitalized the first letter of “catholic.” I hope Redhill didn’t read the piece; he’d have thought I thought he’s into rosaries and holy water.

    On the other hand, during my time as a magazine editor I noticed an inverse proportion between the quality of a writer’s work and the tenacity with which the writer will resist edits. A good writer recognizes good editing and is grateful for it. Many third-rate writers are jealous guardians of their allegedly perfect sentences.

    The trouble is, experiences like Coren’s lost article and my Catholic conversion do take place. Writers bitch about these experiences, as they should. Some bad writers figure that if you presume to tarnish their prose, you must be one of those infamous bad editors. Therefore, in the name of justice for authors everywhere, they defend tooth and nail their dumb or mistake-addled or incomprehensible turns of phrase.

    Dailies, I imagine, don’t have time to indulge these scribes with back-and-forths about delicate changes. So they develop a ruthless touch. The sad upshot: fine style is likely to end up in the collateral damage column.

  5. hysperia says:

    Sorry they edited your 9/11 piece. It’s damned fine.

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