Part of the Indie Author Series
One of the things a good copyeditor will do, beyond dealing with infelicities of grammar, syntax, style, composition, and general meaning, is cover your back. And I mean totally cover it.
In my experience, what most indie authors require is actually a combination of line, copy, and general editing1, not least because the cost of the several editing passes a big publishing house would do (general/developmental edit, line edit, copyedit) can add up to several thousand dollars, a prohibitive cost for the vast majority of indies.
When editing a manuscript for an indie client, the copyeditor is in a watchful mode, consciously noting and monitoring a broad swath of detail and information. The characters’ physical characteristics, the revealed details of their backstories, geographical locations, dates and times events take place, even character names—all these are prone to inconsistency and slippage over the course of a long work and revisions, and it’s the copyeditor’s job to spot these errors and fix them. But that’s just the beginning.
A copyeditor takes little for granted. If, say, I find a reference to a company called Datavision in the text, my first instinct is to wonder if it might not be styled DataVision, or Data Vision, and I’ll google it right away to see if a correction is needed. If I’m working on a science fiction novel and the author states that the universe is 13.8 billion years old, I’ll check that this figure is current and correct—science and tech are especially tricky, since our knowledge is increasing at such a rate that “facts” are constantly changing.
Or let’s say the author has used a Latin or French phrase, like non plus ultra (nothing beyond compare, as far as you can go) or cherchez la femme (look for the woman). A good copyeditor will, if not familiar with it, check both the spelling and the meaning of the phrase to ensure the author has used it correctly. German words like schadenfreude (taking pleasure in others’ misfortune) are especially hazardous. It’s terribly easy to make mistakes in this area.
Firearms present notorious problems for writers, many of whom have little or no firsthand knowledge of them. I’ve come across more than one hero flicking the safety catch off a revolver…but revolvers don’t come with safeties. Whenever a gun is used in a story, details need checking. Is that brand made in that caliber? How many rounds does the standard clip fit? And so on. As to the actual use of firearms in fiction, it’s the copyeditor’s business to know and alert the writer that anyone who isn’t an experienced shooter is very unlikely to hit a person at more than fifteen yards with a pistol, especially a snubnose or a large caliber model with heavy recoil.
It helps if the copyeditor has a good memory and a large store of general knowledge. Just recently, I was going through a manuscript where the author invoked the European terrorist group of the 1970s and 1980s, naming them the Red Brigade. Fortunately, I was around then, and know that they styled themselves, and were known as, the Red Brigades (plural). As small error, but these add up.
Then there are the logical and physical errors and impossibilities. If the author has a terrorist at Dulles airport notice “a group of heavily-armed cops in the distance, maybe a thousand feet away,” the copyeditor should be thinking, wow, that’s a fifth of a mile…and go googling for maps of Dulles airport to see if there really are sightlines that long, as well as adding an inline comment for the author. In another recent manuscript I worked on, the author has a fellow chopping a line of cocaine on the railing of a ship at sea, which is a great way to prevent any actual drug use: better to find a more sheltered spot well out of the wind.
Sex presents a lot of fun for the copyeditor, and fortunately, most writers have a sense of humor when it comes to edits on the subject. I once had to point out to an author that the words vibrator and dildo aren’t interchangeable, the two devices being functionally different in significant ways. No, please don’t ask.
In summary, a good copyeditor working with indies usually does a lot more than check grammar, syntax, and punctuation. Though some of the above falls into the grey area between copyediting, line editing and developmental or substantive editing, it’s my belief that the copyeditor’s job is to protect the writer from every possible circumstance that may cause embarrassment, criticism, scathing reviews, or ridicule. No editor or proofreader is perfect: we all miss things. But the manuscript needs to leave the copyeditor’s hands in a condition such that even if errors remain, they are so minor that no harm will come to the author’s sales or reputation.
So go on, create awesome fiction and don’t worry about taking risks. The copyeditor has your back.
Have you worked with a copyeditor? What was your experience like?
1 I call this the “single edit solution.” Details of my editing services can be found here.
Dario Ciriello is a professional author and freelance editor, and the founder of Panverse Publishing. His nonfiction book, Aegean Dream, the bittersweet memoir of a year spent on the small Greek island of Skópelos (the real "Mamma Mia!" island), was a UK travel bestseller in 2012 and has recently been published in Poland. His first novel, Sutherland's Rules, a crime caper/thriller, was published in 2013. Free Verse and Other Stories, a collection of Dario's short Science Fiction work, was released in June 2014. He is currently working on his second novel, another thriller. Dario has also edited and copyedited over a dozen novels, as well as three critically-acclaimed novella anthologies. He lives with his wife in the Los Angeles Area.
About Black Easter
San Francisco antique dealer Paul Hatzis sells his business and rents an old house on the small Greek island of Vóunos. What he doesn’t know is that the house, which has a sinister reputation with the locals, was previously owned by black magician Dafyd Jones who—along with his seer companion Magda O’Whelan, and Klaus Maule, a seriously disturbed colonel in the Waffen SS—made a deal with the demonic, culminating in their planned bodily deaths during the final ritual in 1944.
In return for a lifetime of service on the frontier of Outer Hell, where all the demons of Hell fight a desperate, eternal battle against inconceivable powers that would consume both the human and demonic spheres, Jones and his companions will be reborn on Earth as powerful immortals…if they don’t go mad first.
As Easter approaches, Paul is preparing to celebrate the biggest holiday of the Greek calendar with his girlfriend, Elleni, and Alex, his adored 18-year old niece. But with the biblical threescore years and ten now up, the magician and his two colleagues are being called back from Hell by the ritual artifact they buried deep in the cellar of Paul’s house.
And all they need are three living human bodies…