The bad habits of editing
By Hajrah Mumtaz
To edit, or not to edit, and how far to edit … in newspapers and magazines across the world, the war between writers and sub-editors continues. Perfectly reasonable people, otherwise advocates of peace, tolerance and universal goodwill, by routine hurl imprecations that can come as quite a shock to the uninitiated observer.
The war is in deadly earnest because the stakes are high. As any writer knows, the process of formulating thoughts and pinning their shape down on paper is an arduous task into which one must invest one’s heart and soul. Every single word has to be carefully considered, each comma, semi-colon and paragraph break painstakingly inserted, the whole read, re-read, reconsidered and then re-written. But on the other hand, as every editor knows, it’s not only extremely unwise to put raw copy through (the pitfalls range all the way from acute embarrassment to crippling lawsuits), much of the copy received practically begs correction.
And so, bad habits have hardened. Secure in the knowledge that a subber will fix problems both typographic and stylistic, some writers actually admit that they don’t bother giving their copy a once-over. Galling as this is, calmer reflection dictates that we subbers must take our share of the blame: we have fallen into the bad habit of tinkering without bothering to reflect upon whether it is required.
Some degree of proofing and editing is, of course, necessary, particularly where editorial and stylistic policy, word count requirements and standardisation come into play. However, the role of the subber must also be rationalised.
Newspaper contributors fall very broadly into three categories: reporters, feature writers and columnists. In terms of editing, each category and its subsidiaries must be treated differently.
Reporters, the pillars supporting any print organisation, are newshounds. Their value is based primarily on their ability to sniff out news and make a story out of it, their contacts and resourcefulness. Stylistic flair is a bonus but not strictly necessary because news reporting rarely requires linguistic gymnastics. Report work must be edited with a view towards structure, factuality and clarity, to which end any degree of editing is (probably) kosher.
Not so while editing features or columns. The significance of such writers lies at least partly in their linguistic ability, individual style and approach. Therefore, it follows that the editing of their work must be kept to a minimum for fear of robbing them of the very voice that makes them valuable. Furthermore, given that there are at any organisation usually more contributors than subbers, the fallout of over-editing is that everything in the publication – reports, analyses, features and columns – ends up sounding the same. While overall consistency is a virtue, it ought not to be taken too far: the tone of different sorts of articles must not be virtually indistinguishable.
There are, of course, some writers – particularly in features – who really do need extensive editing. In which case, I would argue that unless they have some merit in terms of specialised knowledge that makes them indispensable, they ought not to be published at all. For example, it may be worth spending hours editing the work of a bad writer who knows the technicalities of classical music, for the average contributor does not have this advantage. (And that specialised knowledge must shine through in the final copy.) If the copy lacks information as well as linguistic beauty, why not look for another contributor?
A further implication of over-editing is that readers are misled about the actual abilities of the writer. This is why newspapers and universities will, for example, always ask an applicant for unpublished, unedited samples of writing – in order to get a measure of the writer’s true abilities.
Part of honesty in journalism is allowing a writer to express himself in the words he chooses. In terms of editing any article, the subber must be able to defend every alteration he makes, be it on the basis of grammar, editorial policy or style.
—hmumtaz@dawn.com


