The nit-picking glory of The New Yorker's Comma Queen
-
0:02 - 0:07I have spent the past 38 years
trying to be invisible. -
0:08 - 0:09I'm a copy editor.
-
0:10 - 0:12I work at The New Yorker,
-
0:12 - 0:16and copyediting for The New Yorker
is like playing shortstop -
0:16 - 0:18for a Major League Baseball team:
-
0:18 - 0:21every little movement
gets picked over by the critics -- -
0:21 - 0:24God forbid you should commit an error.
-
0:25 - 0:29Just to clarify: copy editors don't choose
what goes into the magazine. -
0:30 - 0:32We work at the level of the sentence,
-
0:32 - 0:34maybe the paragraph,
-
0:34 - 0:36the words, the punctuation.
-
0:36 - 0:39Our business is in the details.
-
0:39 - 0:44We put the diaeresis, the double dot,
over the "i" in "naïve." -
0:45 - 0:47We impose house style.
-
0:47 - 0:49Every publication has a house style.
-
0:49 - 0:52The New Yorker's
is particularly distinctive. -
0:53 - 0:55We sometimes get teased for our style.
-
0:55 - 1:00Imagine -- we still spell
"teen-ager" with a hyphen, -
1:00 - 1:02as if that word had just been coined.
-
1:03 - 1:07But you see that hyphen in "teen-age"
-
1:07 - 1:09and that diaeresis over "coöperate,"
-
1:09 - 1:11and you know you're reading
The New Yorker. -
1:12 - 1:15Copyediting at The New Yorker
is a mechanical process. -
1:15 - 1:19There is a related role called
query proofreading, -
1:19 - 1:20or page-OK'ing.
-
1:21 - 1:24Whereas copyediting is mechanical,
-
1:24 - 1:26query proofreading is interpretive.
-
1:27 - 1:30We make suggestions to the author
through the editor -
1:30 - 1:33to improve the emphasis of a sentence
-
1:33 - 1:35or point out unintentional repetitions
-
1:35 - 1:39and supply compelling alternatives.
-
1:41 - 1:43Our purpose is to make
the author look good. -
1:44 - 1:47Note that we give our proofs
not directly to the author, -
1:47 - 1:48but to the editor.
-
1:48 - 1:53This often creates
a good cop/bad cop dynamic -
1:53 - 1:56in which the copy editor -- I'll use that
as an umbrella term -- -
1:56 - 1:59is invariably the bad cop.
-
2:00 - 2:02If we do our job well, we're invisible,
-
2:02 - 2:05but as soon as we make a mistake,
-
2:05 - 2:08we copy editors become glaringly visible.
-
2:09 - 2:13Here is the most recent mistake
that was laid at my door. -
2:14 - 2:17[Last Tuesday, Sarah Palin,
the pre-Trump embodiment -
2:17 - 2:21of populist no-nothingism
in the Republican Party, -
2:21 - 2:22endorsed Trump.]
-
2:23 - 2:27"Where were The New Yorker's fabled
copy editors?" a reader wrote. -
2:27 - 2:30"Didn't the writer mean
'know-nothingism'?" -
2:31 - 2:32Ouch.
-
2:32 - 2:35There's no excuse for this mistake.
-
2:35 - 2:38But I like it: "no-nothingism."
-
2:38 - 2:42It might be American
vernacular for "nihilism." -
2:42 - 2:45(Laughter)
-
2:45 - 2:48Here, another reader quotes
a passage from the magazine: -
2:48 - 2:52[Ruby was seventy-six, but she retained
her authoritative bearing; -
2:52 - 2:56only her unsteady gait belied her age.]
-
2:57 - 2:58He added:
-
2:58 - 3:01"Surely, someone at The New Yorker
knows the meaning of 'belied,' -
3:01 - 3:04and that it is the opposite
of how it is used in this sentence. -
3:04 - 3:06Come on! Get it together."
-
3:07 - 3:10Belie: to give a false impression.
-
3:10 - 3:12It should have been "betrayed."
-
3:13 - 3:16E.B. White once wrote
of commas in The New Yorker: -
3:16 - 3:21"They fall with the precision
of knives outlining a body." -
3:21 - 3:23(Laughter)
-
3:23 - 3:26And it's true -- we get a lot
of complaints about commas. -
3:26 - 3:30"Are there really two commas
in 'Martin Luther King, Jr., Boulevard'?" -
3:31 - 3:36There may not be on the sign, but yes,
that is New Yorker style for "Jr." -
3:36 - 3:38One wag wrote:
-
3:38 - 3:42["Please, could you expel,
or, at least, restrain, -
3:42 - 3:45the comma-maniac,
on your editorial staff?"] -
3:45 - 3:46(Laughter)
-
3:46 - 3:47Ah, well.
-
3:47 - 3:49In this case, those commas
are well-placed, -
3:50 - 3:51except that there should not be one
-
3:51 - 3:53between "maniac" and "on."
-
3:53 - 3:55(Laughter)
-
3:55 - 3:58Also, if we must have commas
around "at least," -
3:58 - 4:03we might change it up
by using dashes around that phrase: -
4:03 - 4:05"... -- or, at least, restrain --"
-
4:06 - 4:08Perfect.
-
4:08 - 4:09(Applause)
-
4:09 - 4:11Then there's this:
-
4:11 - 4:12"Love you, love your magazine,
-
4:12 - 4:17but can you please stop writing
massive numbers as text?" -
4:17 - 4:19[two and a half million ...]
-
4:19 - 4:20No.
-
4:20 - 4:22(Laughter)
-
4:22 - 4:25One last cri de coeur
from a spelling stickler: -
4:25 - 4:30["Those long stringy things
are vocal cords, not chords."] -
4:30 - 4:32The outraged reader added,
-
4:33 - 4:34"I'm sure I'm not the first to write
-
4:34 - 4:38regarding this egregious
proofreading error, -
4:38 - 4:40but I'm equally sure I won't be the last.
-
4:40 - 4:41Fie!"
-
4:41 - 4:44(Laughter)
-
4:44 - 4:45I used to like getting mail.
-
4:47 - 4:50There is a pact
between writers and editors. -
4:50 - 4:52The editor never sells out the writer,
-
4:52 - 4:56never goes public about bad jokes
that had to be cut -
4:56 - 4:58or stories that went on too long.
-
4:58 - 5:03A great editor saves a writer
from her excesses. -
5:04 - 5:06Copy editors, too, have a code;
-
5:06 - 5:08we don't advertise our oversights.
-
5:09 - 5:11I feel disloyal divulging them here,
-
5:11 - 5:14so let's have look at what we do right.
-
5:16 - 5:18Somehow, I've gotten
a reputation for sternness. -
5:19 - 5:23But I work with writers who know
how to have their way with me. -
5:24 - 5:28I've known Ian Frazier, or "Sandy,"
since the early 80s. -
5:28 - 5:30And he's one of my favorites,
-
5:30 - 5:32even though he sometimes writes a sentence
-
5:32 - 5:34that gives a copy editor pause.
-
5:35 - 5:37Here is one from a story
about Staten Island -
5:37 - 5:39after Hurricane Sandy:
-
5:40 - 5:44[A dock that had been broken
in the middle and lost its other half -
5:44 - 5:47sloped down toward the water,
-
5:47 - 5:50its support pipes and wires
leaning forward -
5:50 - 5:54like when you open a box
of linguine and it slides out.] -
5:54 - 5:55(Laughter)
-
5:55 - 6:00This would never have got past
the grammarian in the days of yore. -
6:01 - 6:02But what could I do?
-
6:02 - 6:04Technically, the "like" should be an "as,"
-
6:04 - 6:06but it sounds ridiculous,
-
6:06 - 6:10as if the author were about to embark
on an extended Homeric simile -- -
6:10 - 6:13"as when you open a box of linguine."
-
6:13 - 6:15(Laughter)
-
6:15 - 6:20I decided that the hurricane
conferred poetic justice on Sandy -
6:20 - 6:21and let the sentence stand.
-
6:21 - 6:22(Laughter)
-
6:22 - 6:24Generally, if I think something is wrong,
-
6:24 - 6:26I query it three times.
-
6:26 - 6:30I told Sandy that not long ago
in a moment of indiscretion and he said, -
6:30 - 6:31"Only three?"
-
6:31 - 6:33So, he has learned to hold out.
-
6:33 - 6:35Recently, he wrote a story
for "Talk of the Town," -
6:35 - 6:38that's the section
at the front of the magazine -
6:38 - 6:41with short pieces on subjects
ranging from Ricky Jay's exhibit -
6:41 - 6:42at the Metropolitan Museum
-
6:42 - 6:46to the introduction
of doggie bags in France. -
6:46 - 6:48Sandy's story was about
the return to the Bronx -
6:48 - 6:51of Supreme Court Justice Sonia Sotomayor.
-
6:51 - 6:53There were three things
in it that I had to challenge. -
6:53 - 6:55First, a grammar query.
-
6:55 - 6:57The justice was wearing black
and Sandy wrote, -
6:57 - 7:03[Her face and hands stood out
like in an old, mostly dark painting.] -
7:03 - 7:05Now, unlike with the hurricane,
-
7:05 - 7:07with this "like," the author
didn't have the excuse -
7:08 - 7:09of describing hurricane damage.
-
7:09 - 7:14"Like" in this sense is a preposition,
and a preposition takes an object, -
7:14 - 7:15which is a noun.
-
7:15 - 7:17This "like" had to be an "as."
-
7:17 - 7:21"As in an old, mostly dark painting."
-
7:21 - 7:22Second, a spelling issue.
-
7:22 - 7:25The author was quoting someone
who was assisting the justice: -
7:26 - 7:27["It will be just a minute.
-
7:27 - 7:30We are getting the justice mic'ed,"]
-
7:31 - 7:33Mic'ed?
-
7:33 - 7:35The music industry spells it "mic"
-
7:35 - 7:37because that's how it's spelled
on the equipment. -
7:37 - 7:40I'd never seen it used
as a verb with this spelling, -
7:40 - 7:42and I was distraught
to think that "mic'ed" -
7:42 - 7:45would get into the magazine on my watch.
-
7:45 - 7:46(Laughter)
-
7:46 - 7:50New Yorker style for "microphone"
in its abbreviated form is "mike." -
7:51 - 7:53Finally, there was a sticky
grammar and usage issue -
7:53 - 7:57in which the pronoun has to have
the same grammatical number -
7:57 - 7:58as its antecedent.
-
7:59 - 8:03[everyone in the vicinity
held their breath] -
8:03 - 8:08"Their" is plural and "everyone,"
its antecedent, is singular. -
8:08 - 8:11You would never say,
"Everyone were there." -
8:11 - 8:15Everyone was there. Everyone is here.
-
8:15 - 8:18But people say things like,
"Everyone held their breath" all the time. -
8:18 - 8:19To give it legitimacy,
-
8:19 - 8:23copy editors call it
"the singular 'their,'" -
8:23 - 8:26as if calling it singular
makes it no longer plural. -
8:26 - 8:27(Laughter)
-
8:27 - 8:33It is my job when I see it in print
to do my best to eliminate it. -
8:33 - 8:36I couldn't make it,
"Everyone held her breath," -
8:36 - 8:38or "Everyone held his breath,"
-
8:38 - 8:40or "Everyone held his or her breath."
-
8:40 - 8:43Whatever I suggested had to blend in.
-
8:43 - 8:44I asked, through the editor,
-
8:44 - 8:46if the author would consider changing it
-
8:46 - 8:49to "All in the vicinity
held their breath," -
8:49 - 8:51because "all" is plural.
-
8:51 - 8:52Nope.
-
8:52 - 8:55I tried again: "All those present
held their breath?" -
8:55 - 8:58I thought this sounded vaguely judicial.
-
8:58 - 8:59But the editor pointed out
-
8:59 - 9:01that we could not have "present"
and "presence" -
9:01 - 9:03in the same sentence.
-
9:03 - 9:05When the final proof came back,
-
9:05 - 9:07the author had accepted "as" for "like,"
-
9:07 - 9:09and "miked" for "mic'ed."
-
9:09 - 9:13But on "Everyone held their breath,"
he stood his ground. -
9:13 - 9:15Two out of three isn't bad.
-
9:16 - 9:17In the same issue,
-
9:17 - 9:20in that piece on doggie bags in France,
-
9:20 - 9:24there was the gratuitous use
of the f-word by a Frenchman. -
9:24 - 9:27I wonder, when the mail comes in,
-
9:27 - 9:30which will have offended the readers more.
-
9:30 - 9:31(Laughter)
-
9:31 - 9:33Thank you.
-
9:33 - 9:36(Applause)
- Title:
- The nit-picking glory of The New Yorker's Comma Queen
- Speaker:
- Mary Norris
- Description:
-
"Copy editing for The New Yorker is like playing shortstop for a Major League Baseball team -- every little movement gets picked over by the critics," says Mary Norris, who has played the position for more than thirty years. In that time, she's gotten a reputation for sternness and for being a “comma maniac,” but this is unfounded, she says. Above all, her work is aimed at one thing: making authors look good. Explore The New Yorker’s distinctive style with the person who knows it best in this charming talk.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 09:49
Brian Greene edited English subtitles for The nit-picking glory of The New Yorker's Comma Queen | ||
Brian Greene edited English subtitles for The nit-picking glory of The New Yorker's Comma Queen | ||
Brian Greene edited English subtitles for The nit-picking glory of The New Yorker's Comma Queen | ||
Brian Greene edited English subtitles for The nit-picking glory of The New Yorker's Comma Queen | ||
Brian Greene edited English subtitles for The nit-picking glory of The New Yorker's Comma Queen | ||
Brian Greene approved English subtitles for The nit-picking glory of The New Yorker's Comma Queen | ||
Brian Greene edited English subtitles for The nit-picking glory of The New Yorker's Comma Queen | ||
Brian Greene edited English subtitles for The nit-picking glory of The New Yorker's Comma Queen |