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Купить Контрольная № 3 (Editing from the Inside)
Контрольная № 3 (Editing from the Inside)

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Text 1. Editing from the Inside
1. Read the text.
Editing from the Inside
To be a good editor, it helps to think like a writer.
by Jake Morrissey - Publishers Weekly, 7/18/2005
I learned a valuable lesson about editing when I stepped through the publishing looking-glass and became an author: It´s just as important for an editor to understand the author´s writing process as it is to understand the words on the page.
Two manuscripts taught me this. The first was Freud´s Requiem by Matthew von Unwerth. Subtitled Mourning, Memory, and the Invisible History of a Summer Walk (and published by Riverhead on July 7), it´s the account of Sigmund Freud´s investigation into the connections between creativity and mortality in his 1915 essay "On Transience". It illuminates a time in Freud´s life few know much about, and introduces readers to a fascinating world of ideas and the people who create them.
The second was my own book, The Genius in the Design (published by Morrow last March). Like the Freud book, it´s narrative nonfiction, the story of the decades-long rivalry between two of Italy´s great 17th- century architects, Gianlorenzo Bernini and Francesco Borromini. (Think Amadeus with architects.)
I began editing Matt´s manuscript as I was finishing Genius, and was struck by the similar ambitions of our books. Each illuminates a facet of cultural history through great men. And each focuses on what these men accomplished: in Freud´s Requiem, provocative ways of thinking about creativity; in Genius, dazzling buildings and the invention of the Baroque. Both books demonstrate that great, juicy stories can be found where history, culture and personality meet.
The more of the Freud manuscript I edited, the more I realized that Matt and I had grappled with the same challenges. Among them was finding the narrative in abstract ideas. I told Matt to find the people in the ideas he was writing about. One of my notes suggested, "You´re addressing some pretty abstract ideas here.... If you can thread the lives of these three through the manuscript, the book will be both more dramatic on a human level and more psychologically engaging". I had made a similar mistake myself, in one chapter describing the current appearance of a Roman street instead of the reasons why Borromini was walking down it in the first place.
In addition, Matt´s writing in his early drafts was too cautious. He needed to limber up his prose. I suspected he knew this, as I had when I submitted my manuscript and my editor noted that my complicated scene-setting "feels like posturing to me and it´s not necessary".
To get Matt to focus on simplifying his language and sentence structure, I told him that "the more theoretical the ideas you want to convey, the more straightforward your prose should be". I wonder if dispensing such advice would have occurred to me before I had written my own book.....
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3. Translate the sentences into Russian:
1. To be a good editor, it helps to think like a writer.
2. It´s just as important for an editor to understand the author´s writing process as it is to understand the words on the page.
3. It illuminates a time in Freud´s life few know much about, and introduces readers to a fascinating world of ideas and the people who create them.
4. I told Matt to find the people in the ideas he was writing about. One of my notes suggested, "You´re addressing some pretty abstract ideas here.... If you can thread the lives of these three through the manuscript, the book will be both more dramatic on a human level and more psychologically engaging".
5. We can be like lions trying to snatch away a herd´s weaker antelopes when sometimes it´s just a joy to watch them run.
6. This is a lesson I learned as I struggled through my own rewrite, where my editor noted on page 42, "Jake, this is wonderful writing". (I´m thinking of having the page laminated.)
7. And no matter which side of the desk I sit on, it helps to remember that all of these writers benefited from having an editor who helped them find the best books in them.

4. Give the English equivalents from the article given above:
Повествовательное документальное произведение – ;
процесс написания книги автором– ;
длившееся десятилетиями противостояние – ;
захватывающий мир идей – ;
самые слабые в стаде антилопы – ;
аспект истории культуры – ;
привлекательные абстрактные идеи – ;
проходить красной нитью – ;
может помочь невероятно (в огромной степени) – ;
пробиваться через – ;
сложное построение сцены – ;
искать только недостатки – ;
шумиха больше нужна, чем сущность – ;
на гуманитарном уровне – ;
золото, которое он выкопал – ;
найти в их книгах самое лучшее – .

5. Answer the following questions:
1. How do you understand the statement: "To be a good editor, it helps to think like a writer"? Do you agree with it and why?
2. What books were Matt and Morrisse editing? What problem did they meet while editing?
3. What can scribble on the margins do for the author?
4. Is the editor to rewrite or just polish the writer´s work?
5. What do you think about being a good editor?

6. Translate into English:
1. Редактор пробивался через сложности повествования, пытаясь исправить стиль, ухватить и упростить основной смысл переведенного произведения.
2. Задача редактора состоит в том, чтобы лишь отшлифовать произведение автора, не искажая сути текста.
3. По мере того как он переводил роман, он постоянно помнил о том, что редактор иногда выискивает только недостатки.
4. Он с удовольствием прочел это документальное произведение, которое ему очень понравилось.
5. Что значит быть хорошим редактором?
6. Не стоит забывать, что после редактирования произведение должно звучать как у автора, а не нести в себе стиль редактора.
7. Быть хорошим редактором означает глубоко проникать в сущность повествования.
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