I’ve been ranting a lot here and elsewhere about the sorry state of ebooks from indie authors, relating to the (apparent) lack of editorial skills (paid or otherwise) applied to those ebooks. I decided to provide concrete examples from the book I’m currently trying to read. I say trying, because I want to read it, I want to enjoy it, but the appalling number of errors is really harshing on my serenity, dude.
I won’t name names or titles, or say where I got the book. I will say I’m glad I didn’t pay for it, though. If I’d parted with any money for this I’d be pretty upset. More upset than I already am. At least having paid nothing for it, I can’t bemoan the loss of money I could have spent on, I don’t know, food or gas or something useful. All I’m losing is time.
These, then, are actual errors from an actual book. I’m not making this up. Honest.
I will note that I’m only 25% of the way through the book, according to my Kindle. I took a tip from another editor and started highlighting errors as I came across them. What an eye-opener that was! I mean, I knew there were errors; I can’t not see them. Proofreading is hardwired into my brain. However, highlighting them makes them seem that much worse. Now I really can’t not see them.
Some of them I’ll explain, some I’ll let speak for themselves. By all means comment if you don’t understand why I’ve called something an error. I’ll do my best to enlighten. I will also state that I’m not quoting full sentences, but only the portions containing the error. It’s also important to know that the writer is from the UK, so some of the mechanics just drive me batty on principle and some of the word choices are unfamiliar to me.
no sights, no sound (For parallelism, I’d change that to “sounds” in this description of a setting.)
standing next to it, was M (Delete that unnecessary comma.)
lit up the lens of his glasses (Unless he’s wearing a monocle, he has lenses, plural.)
gunge (As an American English speaker, I didn’t know this word. It’s a UK term that I figured out contextually and then checked against a dictionary online. If I had been editing I might’ve queried it even after finding the definition. Therefore, this isn’t so much an error as a language issue–but I’m still pointing it out as something that can stop readers in their tracks.)
” . . . we can-.” (Oh, dear me. No. Not even in British usage. If the sentence/thought isn’t finished, there’s no period, no full stop, whatever you wish to call that dot at the end. Also, rather than a hyphen, I’d have used an em-dash to indicate the sudden breaking of the thought/speech. This particular mechanical error occurs throughout the book. I cheated and looked ahead, so I know.)
“Just one . . . at a time”. (Again, no. The period’s at the end of the spoken sentence, so it goes inside the closed quotation mark. I’ve read quite a few blogs lately about US vs. UK mechanics, and quotation marks with other punctuation is one of the most confusing things on both sides of the pond. However–no. It’s a sentence; it has a definite end; put the period inside the quote.)
alright (It’s not all right to use this. It’s all wrong. Two words. Always. All right? Thanks.)
small with a blue studs on top (It’s either a single stud, or perhaps this is a possessive missing its apostrophe and its object. I think it’s the first, and I’d delete that “s” on the end of “stud.”)
industrial sized Hoover (Adjectives made from two words–called compound adjectives–are often hyphenated. “Industrial-sized.” To a point this comes down to the editor’s preference in conjunction with a style guide, such as the CMoS. I far prefer the unambiguous hyphenation to an open version that in some cases leads to confusion or misunderstanding. That, and I like the look of the hyphenated form. So there. I suspect that in this case one might argue that “industrial-sized” is a temporary compound. I’ve not looked for the term in any dictionaries, so I can’t say. The concept is familiar to anyone who shops at places like Sam’s Club or Costco, though.)
give a once over (The idiom is hyphenated. “Once-over.”)
cotton weaved interior (I’m not entirely clear on the intent, here. I think the writer means the interior of this particular wig is woven from cotton. I’d have suggested changing it to “woven cotton interior.” On further discussion with the writer, I might have ended up with something more like “woven cotton cap,” since I believe that’s what the base of a wig is called–the part that fits the head like a cap, that is. I’m indulging in conjecture, of course.)
cheers and laughter . . . was a cacophony (I’d recast this, because while it seems a quick fix to say “were” and have the plural form for the plural subject, we’re also in that messy area of reciprocity. The sentence can’t be easily reversed using the same words (“cacophony” as the subject requires “was,” but “cheers and laughter” as the subject require “were”). I’d suggest recasting the sentence entirely to avoid the issue, and perhaps use the verb “created” instead of the form of “to be,” which is the heart of the problem.)
To the greying ice cream man, he couldn’t help but think . . (The greying fellow is the “he” following the comma. The sentence needs to be recast to eliminate the clumsiness. Perhaps “To the greying ice cream man the crowd looked like nothing so much as a cross between . . . .” Trust me, that’s where the sentence was going. I didn’t want to type the whole thing as it appears in the book, though.)
white-clothed (Again, this needs a hyphen.)
The driver slammed the breaks (No he didn’t. He slammed the brakes. A live proofreader would’ve caught this one.)
her inner thighs ran red raw from . . . (It took me a while to realize what’s needed here, I think because I was getting numb from the number of errors assaulting my editorial senses. Inserting a comma after “red” helps quite a bit, but I still would query the “running red” part. I know the condition the author’s describing, and I wouldn’t use the term “running” with it. “Were chafed and red,” perhaps. The way it’s written sounds like a hemorrhage.)
marine life getup (Another case here of needing a hyphen to create an adjectival compound. “Marine-life.”)
baggy (Pants are baggy. The plastic bag is a “baggie.”)
un-amused (Here’s one of the hyphens that was missing from the compound adjectives. It doesn’t belong in this word; “unamused” is a closed form.)
pre-occupied (Here’s another one. Delete it and close the space. “Preoccupied.”)
buy one get one free offer (Now we’re back to needing hyphens. “Buy-one-get-one-free offer.”)
collapse on to the floor (Usage problem. One could say “collapse on the floor” or “collapse to the floor,” but “collapse on to” is just poor usage.)
oxidisation (Aside from the UK s-for-z spelling issue, this just isn’t a word. The one the writer wanted was “oxidation.”)
pressed him for a minutae more (Just–no. No. One cannot have “a minutae.” “Pressed him for more minutae” preserves the author’s word choice and is grammatically correct. I had originally written another suggestion with a different word entirely, but I like this one much better.)
spaghetti bolognaise (If you’re going to write about a food, know how to spell it. Particularly when the food is regional Italian, like “spaghetti Bolognese.” Capitalize the “B” because this is a proper adjective.)
That’s where I stopped taking notes for the time being. You’ll notice I’m not fussing about pacing, or characterization, or plot, or any of those bigger things. I’m not a story/fiction/developmental editor. I’m a copy editor and a proofreader. I see these little things that many people seem to consider “nitpicking.” They’re far from nitpicking, though. They’re signs of someone with an imperfect grasp of grammar and mechanics who would have done well to have hired someone like me–or any other professional copy editor/proofreader–to look over the work before publication. Then, readers like me wouldn’t find themselves becoming irritated and unable to enjoy the story because of the plethora of errors in the “nitpicky stuff.”
I’ll also say: I learned a new phrase from this book. “Keep schtum” means “keep quiet, particularly if you’ll get in more trouble otherwise.” While it sounds Yiddish, it apparently came from the criminal culture of the UK. It might come in handy someday, so I’ll tuck it away for later.
I would hope that this has shed some light on how a typical copy editor’s brain works while they’re reading. (I think I’m typical, anyway. I’m damned good at what I do, but I don’t think I’m all that special when compared to other professional copy editors.) That’s why I did it. Not to point at a writer and chastise his work. Not to complain for no reason. To point out the kinds of errors commonly made, to explain how I would correct them and why, and to provide an example of why writers really should drop some cash on professional editing and proofreading for their hard work. That’s all, really.
Thanks for reading.