False Proscriptions: "Due to" v. "Because of"

I never have enough to do [pause for roaring laughter], so in addition to being a freelance copyeditor and writing teacher, I'm also a Masters of Divinity student at an internationally known seminary that I see no point in naming here [ahem]...

I was sitting in class not long ago, enjoying a lecture by a writer/editor who seems to be quite successful (I think we heard that she'd gotten "a piece placed in the New York Times" five or so times; I stopped counting after she breached her contract [I'm assuming] by name-dropping the person for whom she'd ghostwritten the NYT piece) and in general had useful advice, much of which was taught to me as a graduate student and much of which I've taught my first-year university students for a decade.  Classic genre-analysis strategies.  All quite useful.

The writer/editor "critiqued" three of my classmates' papers as well as two of my professors'.  This wasn't so much a workshop as an editorial postmortem: she asked the writers to read their unedited texts aloud, and then she showed everyone in the class the edited version of the texts, each bleeding-red with Track Changes revisions and such. 

My colleagues weathered this with the kind of humbleness and gratitude one should expect from seminarians.  But I would never have subjected my students to the potential humiliation of being asked to read aloud something they've worked hard on only to see it changed beyond their desire or control by someone whom they think clearly "knows more" and is going to "fix" all the "problems" in their texts.  And then to subject my students to a public inquisition before their classmates (Student respondent: "I really liked what you did in the introduction."  Student writer: "Thanks!"  Writer/editor: "I really wasn't sure of what you were trying to say in the introduction, so as you can see in the revised version, I changed it substantially.")?  Never.

I experience this situation all the time, though.  I'm sure that chiropractors often think, "If only that person with horrible posture would just come into my office, I could help so much!"  I often see people helping other people with writing in ways that are discouraging or that perpetuate myths about writing or that aren't collaborative or rhetorically sensitive.  But I can't fix everyone's posture, so I just go about my business.

There is one "correction" that the writer/editor made a point of saying before critiquing the students' drafts about which I can make a quick public service announcement.  Her claim was that due to is replacing because of, and anytime a writer uses because of, she should replace it with due to.

I don't know which editor she heard this from, but she either misunderstood or got bad advice.  Her assertion is factually wrong and pragmatically unhelpful.

It's easy to find official examples of important editorial styles that not only allow for but sanction because of in pertinent circumstances.  Here are the facts from the Chicago Manual of Style's website.  Here are the pragmatics about the Associated Press style guide's lack of proscription against the use of because of from the legendary copyeditor of The Baltimore Sun.  Here is some additional discussion from well-respected linguistics blog Language Log about the history of due to and about the ways in which the phrase's usage is changing.

The short version of why her proscription was false is this: due to should be used as an adjective (description) phrase.  Example: The rise in profits was due to the increase in revenues.  Notice how that sentence is structured very much like another one: The rise in profits was bigBig is an adjective, and due to functions in the same way, grammatically.  If you could substitute in the word "related" for "due," then you could test its appropriateness: The rise in profits was related to the increase in revenues.

And because of is a preposition phrase.  Example: The profits rose because of a change in policies.  Try testing this by substituting in other prepositions: The profits rose around a change in policies.  Not the clearest example, but perhaps when I come up with one, I'll use the magic of the internet to make some emendations.

The upshot is this: no matter who you are, how successful you are, or how sure you are, be careful about the proscriptions you announce, especially if you're helping people who are already less-knowledgeable than you.  Encourage them to double-check your assumption by looking up the accepted usages in their manual of choice.  Never be too quick to say "never," because language and usage change quickly.  Depending on how staunch your proscription was, you may be somewhat wrong or very, very wrong sooner than you think!

What type of copyediting do you need?

I work with a lot of first-time authors, and most of them don't realize that they don't just need copyediting.  They need a specific type of copyediting. 

Most copyeditors break down copyediting into categories that anyone who studies metaphor theory (including yours truly, here) would find fascinating.  The categories are based on weight: light, medium, and heavy.  Then there's developmental copyediting, which breaks the pattern, disappointingly. 

Here's how I treat these categories in my own work.  (My categories are an adjusted form of the categories from the Bay Area Editors' Forum, which I highly recommend you peruse for yourself.)

Light copyediting includes:

  • Correcting spelling, grammar, and punctuation.

  • Correcting usage (e.g., commas with non-restrictive relative clauses, using “there” for “their,” etc.).

  • Checking in-text cross-references (e.g., "Figure 5.6 indicates...").

  • Ensuring consistent spelling, hyphenation, numerals, fonts, and capitalization across the text.

  • Checking for proper sequencing in lists and other displayed material.

Medium copyediting includes light copyediting, plus:

  • Changing text and headings to achieve parallel structure.

  • Flagging inappropriate figures of speech.

  • Ensuring that key terms are handled consistently.

  • Ensuring that previews, summaries, and conclusions reflect content.

  • Flagging ambiguous or incorrect statements.

  • Eliminating wordiness, triteness, and inappropriate jargon.

Heavy copyediting includes medium and light copyediting, plus:

  • Smoothing transitions and moving sentences to improve readability.

  • Assigning new levels to heads to achieve logical structure.

Developmental (and sometimes just really, really heavy) copyediting includes all the above, plus:

  • Restructuring content across and within paragraphs to achieve greater clarity and logic.

  • Suggesting — and sometimes implementing — additions and deletions, noting them at the sentence and paragraph level.

You might have a sense of what you want, but the copyeditor (yours truly, again) will also have a say in what you're actually going to request.  For example, I've had authors send me manuscripts and ask for, say, "light" copyediting, but when I return the sample edit of five or so pages, they say something like, "But I wanted you to make it make sense!  Could you do some rewriting of transitions and headings?"

Yes, I can do that.  It's going to take longer and cost slightly more.  But never fear, because you're in good hands, and in most cases you can pay in installments.  Or you can get just light copyediting and then rework your own transitions and headings. 

But don't forget that I'm invested in your manuscript, too, because I want it to be as good a final product as possible (my reputation's on the line, too), so I want you to have the type of copyediting that will be most beneficial for your manuscript and that will also respect your vision for your project.

For more information about how each of these types of copyediting break down by price, you can check out the post about pricing and payment plans by clicking here.

Our rates, or: Yes, you'll get an invoice. No, it won't be that bad.

No "Perfect Rate"

Before I started freelancing, I had no idea that so many people got so much help with so many different kinds of writing.

That's mostly because I never needed much help with writing.  I hire out for things like taxes (I have never nor will ever prepare my own taxes), graphic design (looking at you, Wayward Broad Studio), and cello repair (not to mention lessons).

If you've ever needed help with editing or writing, you've probably thought to yourself -- probably late at night a few hours before your deadline -- "Can't I just pay someone to do this?"

The answer, obviously, is yes.

But the thought that no doubt followed swiftly on the heels of the previous thought was: "GETTING A WRITER/EDITOR WOULD COST A FORTUNE!"

That's just not true, though.

In a room of thirty different editorial freelancers, you'll find thirty different ways of arranging a contract.  That's why flexibility is one of my company's values: ultimately, as long as the rate is fair and the time-frame for payment is mutually acceptable, there's no universally right way to arrange a freelancing contract.

What's the "Industry-Standard Rate"?

First, you should know that even though there isn't a universal rate scale, there are some industry-standard guidelines and minimum rates.  The Editorial Freelancers Association website has a list of their minimum rates that you can peruse here.

Second, keep in mind that what counts as "industry-standard guidelines" for organizations like the EFA really are minimums: the EFA posts theirs as a way of being clear about the fact that no job that pays less than the posted rates will be allowed on the EFA website.  Now, I've got a PhD in rhetoric and composition and an MA in literature, language, and composition from a research university, where my dissertation passed with honors, and not long ago I was a tenure-track assistant professor and writing-program director.  I've got a decade of experience in teaching writing at the university level and six years of experience in administration, not to mention nearly a decade of freelancing experience.  Nevertheless, it's part of my Christian business practice not to have my rates be so high that students, retirees, people going through job transitions, etc., can't afford our help.  I try to keep our rates low so that LSE's services can be accessible to people who need them most.  

So, what are LSE's rates?

  • Copyediting

    • Light editing: $50-55/hr

    • Medium editing: $55-60/hr

    • Heavy editing: $60-65/hr

    • Developmental editing: $70/hr

  • Business genres: rates by type of document

    • LinkedIn profiles: $375 for an interview-based profile; $300 for a questionnaire-based profile.

    • Other documents (e.g., whitepapers, reports, blogs, website copy): $70/hr

If you don't see the type of genre or service you're interested in here, contact us so we can provide you with details about pricing.

Other Policies/Fine Print

Flat rates are another option, of course.  We base those on an estimate of what we think it would take me to complete the work in a set number of hours according to my price scale, above, so it's usually a wash, in terms of final cost.

If you are a new customer, please expect to pay a small deposit, even for short manuscripts. For longer manuscripts or anything that we estimate will be more than $1,000, we'll ask for a deposit of one-third of the estimate.  When we send you the first half of a longer project (e.g., a full first-pass of a book or report) we'll invoice you for the second third of the estimate.  Then when we deliver the final draft of the manuscript, we'll invoice you for the remaining actual cost (which may be more or less than the estimate).

We customarily expect payment within 30 days, but we often set up installment plans for students, unemployed persons, retirees, and just about anyone else who asks.  I was a poor grad student once; I understand the struggle.

Last but not least: if you've had a contract arrangement with a copyeditor/copywriter in the past that worked well for you, let us know. We can probably work with that other editor's paradigm, or we can at least try to accommodate you.

The Next Steps

If you want to know if Laughing Saint Editorial can accommodate your pricing or billing preferences, it never hurts to ask. 

Contact LSE today for an estimate and some free words of encouragement about your writing project!

Last updated: Sep 2019

Client Interview: CM's Classics Thesis

CM reached out to me in late spring 2015 for help with her dissertation-turned-Masters-thesis.  She was facing a lot of challenges: a advisor who lives on another continent, a looming deadline, and the demands of her job as a Latin teacher.  We started working on her thesis in May 2015, setting up a schedule for drafts and revisions. CM finished her thesis revisions on time; in three months, she was able to submit revisions to the entire text before she left for a much-deserved vacation in New York!  We sat down together not long ago over a cup of coffee so I could ask her to tell me the story of the thesis.

LSE: Thanks so much for taking the time to talk about your thesis and what it was like to work with me on the revisions. So, what's the story behind your project?

CM: That in itself is something of an epic story.  The basic idea for this thesis came from 20 years ago, when I was working on it as a dissertation at Cornell.  I was getting ready for the dissertation proposal, but I just didn't develop it into the full dissertation for many reasons.  Then I came to Fort Wayne and taught Latin, and I would submit conference proposals based on the chapters I'd been working on for the dissertation, but I just didn't have time to go back to the dissertation while I had a full-time teaching job and kids.  When I finally did get time to go back to it, there were no Classics Ph.D.s online except at UNISA [University of South Africa], but they said, "Hey, yes, you can pick up where you left off with that other dissertation!"  So, I plugged along for a couple of years on it as a doctoral thesis, then because of the rules they have about what counts as a dissertation, I decided to write it up as a Masters thesis because I thought, "Honestly, if I have a Masters, I can be well-positioned and not be over-qualified for any job I might want."

LSE: At what point did you decide you needed to get help from an editor?

CM: When I was facing the revision process this summer.  Thinking about it, I was in a panic.  I didn't feel like I could approach the revisions without someone to support me.  I had a friend who tried to help, but I didn't end up getting very focused advice, and the text was still in a messy state.  I started thinking of whom to ask or or hire to help.  If you hadn't said that you'd be willing to help, I would have looked for someone to hire.  I wasn't crazy about the idea of spending money on the project, but I realized that if I didn't, it probably wasn't going to come together.  I'd found someone on Craigslist and I probably would have gone back to him.  I know you're a person of faith and I am not, but if ever I have felt like there was divine intervention, it was when my friends brought my second husband to my door and when you said, "I'll do this, and it won't cost you as much as you think."

LSE: Ha!  Well, there's at least some order in the universe.  So where is the project?  What else is left to do with it?

CM: I still have to do the bibliography and reconcile the sources.  Other than that, it feels like the rest is done.  I'll get [my advisor's] last round of feedback and do any revisions he asks for.

LSE: Great!  What are your hopes for the project, once it's completed?

CM: Well, I feel really confident about the quality of the writing now, so now I'm expecting that any concerns my advisor might have won't be that ginormous.  The Masters degree matters to me because it means I have something to show for the years and years of graduate school.  And it'll make the job market easier if I want to pursue other teaching positions.

LSE: Let's talk about the editorial process a bit.  What were you struggling with most that having a professional editor's perspective helped with?

CM: I think what I struggled with most was handling the overwhelming amount of work I had to do and understanding how to respond to my advisor's comments.  You helped me look at it more objectively, so I didn't feel like I wanted to cry about your edits and suggested revisions.  Having someone there to coach was great.  I would send you things and you would respond and gave me timely feedback, and that was not my experience with [my advisor].

LSE: What do you feel more confident about after having worked with an academic editor?

CM: The feedback you gave me was so focused that it was easy to respond to correct what you pointed out.  It also made me think about my own comments to my students: "Oh, sometimes I really do say vague things to them!"  Sometimes, I would think, "Wow, that was exactly what I needed [to hear].  Going through the whole process has made me feel like, "Yes, I can do something like this; even if it gets bogged down, I can do this."  It wasn't a writing style that I liked, and I won't be writing in that style again, and finding that out was good, too.

LSE: What advice would you give to other people who are writing theses and dissertations and are facing similar difficulties or concerns?

CM: There's no way to overestimate the amount of time it's going to take. What worked for me this summer was that I became more disciplined about a writing schedule.  I said to myself, "Ok, I am going to get up at 6:30, write for two hours, then have a break, and then go back and write for another two hours.  When we first met at the beginning of the summer, I was worried that even putting in the time wouldn't be enough to meet the deadline.  But now I have to write these recommendation letters and having that discipline is good.  It was great, seeing that the discipline was actually working.

UPDATE: CM reports that her advisor has already given her some preliminary feedback: "I received a short message from [my advisor] saying that he is reading my stuff and...get ready...he is proud of me. I am pleased but slightly freaked out!"  Congratulations, CM!!

International English Translation

Back when I taught in higher-ed, I was extraordinarily fortunate to teach students in first-year and advanced writing courses. Why was this such a blessing? Let me count the ways.

First, it brought some much-needed fresh perspective to what's honestly a pretty homogenous--linguistically and dialectically speaking--situation. That is, a university-level composition class is supposed to teach students strategies for successfully using what some of you undoubtedly think of as "proper English" but which I think of as "Standard Edited English" (SEE) or "Standard American English." Moreover, students aren't just expected to know (or learn, if they don't already know) SEE, they're supposed to know (or learn) a specific dialect of SEE/SAE, the hyper-correct, syntactically dense academic dialect of SEE/SAE.

The truth is that this academic dialect is often a foreign dialect to first-year students, even those who are native English speakers.

When an international student was in class--especially those for whom English was a second language--the native speakers had almost no choice but to confront the fact that their "native" way of speaking and writing was not, in fact, the only acceptable way to use their language. When they started getting papers back with comments from me like "Your metaphor here is unclear to me. What do you mean by 'a huge deal' when referring to the importance of tone?", they might be more likely to wonder, "Why did I use the word 'huge' instead of 'important'?" They were at least more open to my asking them to reconsider and explain their choices.

Second, it gave me a chance to find out more about where and how English is being taught around the world. My African students--whether from Nigeria, Ghana, or Ethiopia--all had learned British English, with its preference for preterites spelled with "t" rather than "(e)d" (e.g., I learnt how to spell in school) and such. Same with my Western European students from Germany, Greece, and, of course, Britain. My Asian students generally had learned American English conventions, but they struggled with syntax (wide is the divide between English syntax and Chinese, Japanese, Thai, and Korean syntax!). Eastern European students--from places like Kazakhstan and Serbia--had learned both British and American conventions and were often comfortable switching back and forth. Thinking about the geopolitics behind how each of my students had learned English gave me a deeper sensitivity for their difficulties in adjusting to an American first-year writing class.

Third, and least important, whenever I had a student who used British English, I was transported to my own time in Europe when I lived in London and Paris. Sometimes, it's the little things...

So, what can Laughing Saint Editorial LLC do for international English speakers?

We can copyedit a document of any length from any dialect of English into American English. We can help you with light copyediting on a cover letter for a job in the States, medium copyediting of your resume, heavy copyediting of grant, or developmental copyediting of a book you'd like to market to an American audience, just to name some examples.

We can help you write important documents in American English. This is a service we offer to anyone, but we developed it with job-seekers in mind. If you need a resume, CV, or cover letter in American English, contact us to find out more about our international copywriting services.

We can also help you learn more about American English if you've learned a different dialect. This would entail working with you on reviewing and revising documents you've already written in English and on a few reading and writing exercises we'd send you. If this is what you think you need, contact us today to ask about our hourly rates for American English tutoring.