Tags: textual errors

bear by san


Page 161 has no red or blue OR green on it except typesetter's directions. So does page 168. I am resisting the urge to make color photocopies and have the originals framed.

pegkerr reminded janni in comments of a great old post Peg wrote on copyrediting and galleys, and how errors get into print.

Everything she said, with the addition of -- this manuscript is six hundred and fifty six pages long. It represents probably something like three years of my life, and it's three years noncontiguous. The first draft was begin in 1991 or so. It's suffered major plot revisions, character unpersonings, repersonings, one POV thread eliminated, two POV threads added, exposition moved around, character names changed, dead people reanimated and live people killed off. People's physical appearances have changed. Carel used to be thinner and taller than she is now. Matthew wasa brunette, once upon a time. (He kept the brown eyes, somehow. Screw it; brown-eyed blonds are not unheard of, or, at least, a hazel dark enough to be called brown isn't.)

...and I've written... nine other novels in six other settings and four other continuities since I wrote this book. And I'm working on two other books in two more continuities/settings now.

I can't bloody remember what happens in which version of it, and what version is which and when, anymore. While I go over the CEM and galley, I have my manuscript open in Word do I can quick-search and figure out if a scene I remember writing is even still in the book anymore. And, you know, you cut one sentence or paragraph for length at the last minute, and introduce a cascading error across pages.

If this were easy, it wouldn't be fun. *g*

One more day to Narnia!
bear by san

(no subject)

Feel free to open your copy of Hammered (presuming you have one) to page 47 and make the following correction: the moon should be setting, not rising, and it should be waxing crescent, not waxing gibbous. I was off by ten days. (I just got email from a very nice fan noting my error and figured I would pass it along. And boy, how weird is it typing those words, "I just got email from a fan.")

We now return you to your regularly scheduled whining about the Carnival revision.


This is going entirely too smoothly. Either I am blind to this book's (possibly many) flaws, or it's actually not a bad book. I am nervous I'm not finding more to fix, other than doing things like supporting the ending at the beginning, which of course I *always* have to do--my drafts evolve in production.

I got through chapter 5 last night, and despite having added eight pages in one scene, I've gotten five pages total out of the book (it stands at 458; it needs to be 440, and I still have stuff I know I need to add). Some of that is the result of absolutely ruthless cutting (Oh, look, pretty paragraph. Unfortunately, it's in Vincent's POV and sounds like Angelo. Out! Out, damned spot!).

Some of it, however, is because I was doing rather a lot of thrashing early on, and this reflects in convenient paragraphs of the characters standing about waffling, which can be excised like the excrescences they are, and the edges stitched up neatly, leaving an invisible scar. There's one scene I'm thinking about cutting, but really, it does a ton of worldbuilding and character work, even if it's not, in particular, advancing the plot all that much.

I've decided not to muck with the narrative voice. It's strong enough that I think all I'd manage is bolting things to its neck and covering it in stitch marks, and that's no good to anybody.

Angelo has developed an annoying verbal tic. If you don't like it, it's stillsostrange's fault. If you do like it, I did it all by myself it's also still her fault.

Shower, and tea, and onward into the trenches.