Rebel with a Clause follows the adventures of Ellen’s Grammar Table and will have its New York City premiere on March 4 at the SVA Theatre in Manhattan. A book with the same title was published in 2022.
As we announced back in April, the 18th edition of The Chicago Manual of Style will be published in September. That’s the official publication month for the printed book, and copies have already started rolling off the presses. But if you subscribe to CMOS Online, you don’t have to wait any longer.
Have you heard the news? The 18th edition of The Chicago Manual of Style will be published in September! And . . . it’s YELLOW! It may seem hard to believe, but it’s been seven years since we published the 17th edition.
How well do you know the history of The Chicago Manual of Style, otherwise known as CMOS? This quiz is designed to give you a brief overview of the long history of the Manual (see question 2 for how long)—and of Chicago style.
The first edition of The Chicago Manual of Style was published in 1906, when horses outnumbered cars and typewriters and telephones had only recently become fixtures of the modern office. Yet the books and articles published back then weren’t all that different from the ones published today, and a lot of the advice in the original Manual still applies.
Since long before the days of email, the Manuscript Editing Department at the University of Chicago Press has had the honor of replying to comments and questions from users of The Chicago Manual of Style, usually typed but sometimes written in longhand or even called in by phone.
Even the most straightforward rule will be subject to an exception sooner or later. That’s why CMOS qualifies so many of its rules with usually or generally. But some exceptions are so common that they deserve to be called rules themselves.
Ellen Jovin is a cofounder of Syntaxis, a communication skills training firm based in New York City. The author of several books for business professionals, she has a BA in German studies from Harvard and an MA in comparative literature from UCLA.
Narrators and characters in novels and other creative writing can talk about whatever they want. A character might read the Chicago Sun-Times; they might say they like to sing “Drivers License” while brushing their teeth. A narrator might mention a famous poem or novel or TV show: “The host didn’t mention that he’d heard the same joke on The Simpsons.”
Creative writers sometimes mangle grammar on purpose or get creative with punctuation. At the drafting stage, we keep a dictionary and style manual at hand. When slips are unintended, we count on our copyeditors to catch them.
