Copy-editing is often invisible labor, thought by many to be grunt-work and not really intellectually demanding. This is unfair to every competent copy editor, but grossly unfair to Lauren, who in her thirty years at Princeton must have made hundreds of books far better than they would have been without her. She did an important job, and she did it better than I have ever done anything.
Source: behind the scenes – The Homebound Symphony by Alan Jacobs
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Alan Jacobs reflects upon the legacy of Lauren Lepow and the invisible labor associated with the roll of the copy editor. Austin Kleon recently reflected on paying ‘attention to the credits’:
If you want to be a better student of any art form, you have to pay attention to the credits! If you love an album, read the liner notes, notice the personnel involved in the recording, and seek out more of their work. (Reading the liner notes is increasingly impossible, as people do so much listening via streaming. Personally, I rely a lot on AllMusic.com or Discogs.) If you like the way a movie looks, watch the credits or check IMDB to find out more about the cinematographer. (Again, increasingly harder — Netflix skips credits by default these days, so you have to scramble for the remote at the end of a movie.) If you like the way a book is designed, check the acknowledgements or copyright page for the designer, the imprint, and the other personnel involved. This is one of the easiest ways to find more of what you like and discover what you don’t know you like yet.
Source: Collective creativity by Austin Kleon
After recently spending time with Hannah Arendt’s The Human Condition, I was left wondering who edited such a book and what other books they may have edited? I was also left thinking about editing a book like Anti-Oedipus?