Eva van Emden

Freelance Editor and Certified Proofreader


January 1, 2015

Canadian Copyright Law, 4th ed.: An Updated Guide to Canadian Copyright Law for an Age of Reckless Infringement by Lesley Ellen Harris

Lesley Ellen Harris: Canadian Copyright Law
ISBN: 978-1-118-0751-8
October 2013, 368 pp.
When it comes to producing anxiety in writers and editors, copyright is right up there with citation styles, libel, and the correct use of the subjunctive mood. Most people get by on a combination of hearsay and superstition (“Mrs. Thistlebottom said it’s always OK to quote less than fifty words” . . . “It’s for noncommercial use” . . . “It’s in a public place” . . . “We have to change that to ‘candy bar’”), and that doesn’t work too badly until it comes to publishing online, where the stories sometimes get weird. I’ve seen people ask whether they can publish a URL without permission, while others have tried to claim that nothing on the web has any copyright protection (see “But honestly Monica”).

Lesley Ellen Harris’s Canadian Copyright Law is a readable, complete introduction to Canadian copyright law, covering text, photographs, art, video, music, and more. Harris explains what types of intellectual property fall under copyright as opposed to patents, trademarks, industrial design protection, and trade secrets. She summarizes what rights are included in copyright, how they can be exploited, and how copyright is infringed, and discusses how violations are handled. She also explains how to license content and gives some guidelines on fair dealing. There’s discussion of international copyright treaties, and a full chapter on U.S. copyright law.

The book contained just about everything I wanted to know, and it was well organized and easy to understand. It’s quite a reasonable length, so you can realistically read it cover to cover. The author seems to take a neutral point of view, which is helpful given that there is some controversy over how to interpret recent Supreme Court decisions. I think the book takes into account the results of the “copyright pentalogy,” five decisions by the Canadian Supreme Court on copyright that were delivered on July 12, 2012, but there’s no direct discussion or analysis of the cases. This book seems like an excellent starting point for the lay reader who needs to get a grip on how to protect, license, and use creative works.

Lesley Ellen Harris is a lawyer, writer, and teacher who specializes in copyright law.

Accompanying material online

Reviewed from a copy borrowed from the library.

November 7, 2014

Ethics for Editors Seminar

Understand your role.

Keep your promises.

These were the guiding principles behind our discussions during an Editors’ Association of Canada seminar taught by Mary Schendlinger of Geist magazine.

Why does a copy editor need to understand ethical issues?

Editors are the front line of the publishing industry: after authors, editors work most closely with manuscripts, and often, that makes them the publishing professionals who flag potential libel, copyright infringement, plagiarism, invasion of privacy, and biased language. If you work with self-publishing authors, you might be the only publishing expert who can warn the author about these issues.

Responsibilities to many stakeholders

You may think of publishing ethics in terms of dealing with your employers or clients, but there is a much wider range of stakeholders to consider: authors; readers; your colleagues and the larger community of writers and artists; other publishing professionals, such as printers, designers, booksellers, libraries, advertisers, and investors; and the environment.
  • The author’s hard work and creativity should be respected. Copyright law gives them the right to be credited and compensated, and for their work to be published without distortion.
  • The reader deserves a good product.
  • You can support your colleagues and the publishing community by participating in industry events and supporting professional associations. Treat your clients and staff well. Be honest and fair with your professional recommendations.
  • Consider the environmental footprint of your publications and your work methods. Even Internet use has an energy cost.

Some questions and common problems

Here are a few questions that came up together with answers that were offered.

When you’re a freelance editor, is it OK to turn away a manuscript because you don’t agree with the opinions expressed in it or you just don’t feel like working on it? Yes. It’s OK to choose projects that you’ll enjoy working on, and the editing process works best when the editor is enthusiastic about the project.

Conversely, is it OK to accept a project you’re not enthusiastic about? Yes. You can do an excellent, professional job editing a manuscript even if you’re not personally passionate about wing-nut-manufacturing specifications, the life cycle of the hookworm, or cooking with kale.

What should you do when you find plagiarism in a manuscript? If you find racist or sexist statements? Plagiarism can happen by accident, and biased language might be completely invisible to the author. Treat the problem as a problem with the writing, not a problem with the author, and address it in terms of how it could distract the reader from the book’s message.

What if you’re working on a manuscript and you find errors that should have been fixed at an earlier stage in the editing? Don’t just complain to your employer that the earlier editor didn’t do her job. It may be that what looks like an error was kept at the insistence of the author.

Further reading

  • See also my introduction to Canadian libel law.
  • Various style guides have sections on legal issues: Editing Canadian English, 2nd Ed., Chapter 11, “Editors and the Law,” Chicago Manual of Style, 16th Ed., Chapter 4 “Rights, Permissions, and Copyright Administration,” Associated Press Stylebook, “Briefing on Media Law,” and Canadian Press Stylebook, various sections including “Legal.”
  • Canadian Copyright Law by Lesley Ellen Harris has a newly updated edition.

November 6, 2014

Iron War: Dave Scott, Mark Allen, and the Greatest Race Ever Run

Matt Fitzgerald: Iron War In 1989, the two biggest long-distance triathletes in the world met head to head at the Hawaii Ironman—the most prestigious triathlon in the world. Dave Scott had already won this race six times. Mark Allen had dominated everywhere except Kona; although he had gone up against Dave Scott at the Hawaii Ironman four times, he had never been able to win. In the 1989 race, called the Iron War ever since, they raced within metres of each other for eight hours, building a three-mile lead on the rest of the field, with neither able to break away. The winner broken the course record by nineteen minutes.

How did these two athletes put on such outstanding performances? Are they aerobic mutants? Were they driven by ferocious inner demons? Matt Fitzgerald explores the science of exercise capacity and finds that it is an athlete’s mental gifts that make the difference. It seems that people stop exercising when the mental strain of persisting in the face of perceived effort—suffering—is too great, and that a specific part of the brain (the part that handles response inhibition and conflict resolution) is involved in exercise endurance. But even the most accomplished sufferer needs a perceived reward to motivate him. Fitzgerald digs into Mark Allen’s and Dave Scott’s respective pasts to explore what makes them tick and why they found what they were looking for in triathlon.

Supposedly the idea of combining a 2.4-mile swim, 112-mile bike ride, and 26.2-mile run arose from a recurring argument about who was fittest: swimmers, cyclists, or runners. Whoever finishes first, we’ll call him the iron man. This book is as much a celebration of the peculiar sport of long-distance triathlon as it is about Dave Scott and Mark Allen. Triathletes will enjoy reading about the people who took the fledgling sport and pushed it farther than anyone had imagined. Fans of sport stories will discover a strange new world.

If fatigue is caused by a mere perception why can’t athletes simply override it by an act of will? This objection reflects a common misunderstanding about the nature of mental phenomena. Intuitively, most people regard perceptions as nonphysical and therefore as lacking the power to exert deterministic control over physical functions. But perceptions are physical—they are specific patterns of electrical and chemical activity in the brain—and they have as much causal power as a punch to the gut.

While there are zillions of stories about not quitting, few tellers of such tales ever really explore the source of the will to endure, the substance of trying harder. Most raconteurs of sport just take it as given that any seer or hearer of a story of outrageous persistence can be inspired to try harder . . . Modern science has enabled us to put this kind of courage under the microscope as never before, and the results have not been kind to the myth of the communicability of will. Scientists . . . have demonstrated that the bravery of the likes of Dave Scott and Mark Allen is a physical thing subject to physical laws and cannot be freely chosen by just anyone.

Further reading

Reviewed from my own copy of the book.

May 23, 2014

Molotov Hearts by Chris Eng

Molotov Hearts by Chris Eng Trying on a pair of pants isn’t a subversive act, is it? For a teenage girl who sees another world—a world of friendship, authentic self-expression, freedom, ideas, and great music—in a group of punks who hang out downtown, the first step to changing her life is buying a pair of jeans. Jenn manages to find new friends and an escape from her home life, but her escape is based on deception, and eventually it can’t continue. How can Jenn escape her crazy mother and take control of her life?

This book is very much about identity, and the importance of finding a way to be yourself. The book has a lot of heart. It’s about the importance of taking action to change your life, but it acknowledges the power of a generous act by a stranger. In the end, Jenn manages to finds a way to solve her problems herself in a way that doesn’t match violence with violence. Although a romance acts as the catalyst for Jenn’s transformation, there’s no message here that love fixes everything. In fact, the boyfriend is almost an innocent bystander while it’s the women who really make things happen. Love may or may not happen, but you have to fix yourself first.

Part of the reason this book speaks to me is because I know the author. Chris and I went to the same high school in Victoria, B.C., and the physical and psychological setting of the story is vivid in my mind. However, even if you’re not a Victoria native, I can recommend this story about identity, love, and the power of punk.

Molotov Hearts is available from Powell’s Books or Amazon. Buy the PDF at Chris’s webstore, or read it for free at HoodieRipper.com. Check out Chris’s new series, Switchblade Queens.

Reviewed from my own (paper) copy of the book.

February 15, 2014

Developmental Editing: A Handbook for Freelancers, Authors, and Publishers by Scott Norton

Developmental Editing by Scott Norton

In developmental editing, an editor works with an author to shape the structure and content of a manuscript. This can start early in the writing process, or it might begin once a draft of the manuscript is finished. Developmental editing is done more often with non-fiction books, where the emphasis is on the author’s subject matter expertise rather than writing expertise, and it is generally done to improve the book’s quality and effectiveness at reaching its target readership.

I think developmental editing is the most difficult, although potentially the most rewarding, form of editing. It takes insight and creativity to find a theme or a narrative thread that will make the facts come alive. And it takes the greatest tact and communication with the author.


  1. Concept: Shaping the proposal
  2. Content: Assessing potential
  3. Thesis: Finding the hook
  4. Narrative: Tailoring the timeline
  5. Exposition: Deploying the argument
  6. Plan: Drafting a blueprint
  7. Rhythm: Setting the pace
  8. Transitions: Filling in the blanks
  9. Style: Training the voice
  10. Display: Dressing up the text

Scott Norton takes a lot of the guesswork out of this process by breaking it into separate tasks (see the contents listed in the sidebar). Each chapter has a case history to demonstrate the techniques being discussed. Structure is a constant theme, and the case studies typically use the initial and revised table of contents as a starting point for the editing. There’s valuable discussion on deciding how to approach the material, how to present it, what aspects to emphasize, and whether to order material according to a timeline or by following an argument.

The detailed case histories make the book come alive. Each case history is developed as the chapter progresses, and it shows the table of contents of a manuscript before and after editing, which neatly summarizes the changes. Although the author-editor relationship doesn’t get a chapter of its own, the case histories illustrate a variety of ways this can go.

At a little over 200 pages, the book isn’t unmanageably long, and it’s an attractively published small paperback that you can keep as a reference book without breaking your bookshelf. The further reading section at the end is a thoughtful collection of other good books on related topics with a short description of what each book offers.

Related reading

This article by John McPhee on structure discusses the choice between chronology and theme and describes how stuck a writer can get without a framework.

Reviewed from my own copy of the book.