I’ve encountered typos in published books before, and I’ve indeed wondered why they weren’t caught. I never imagined that the writer might be so burdened by an all but incompetent editor, he would be forced, in the service of saving his sanity, to move the manuscript as quickly as possible. I’m angered and saddened for writers who must endure such editors. And I’m grateful to you, Lev, for giving us readers a glimpse into the dark underbelly that lurks beneath the published work. Thank you for this insightful piece!
Thanks for commenting, and in/re typos, anything is possible in the crazy world of publishing. I had a friend whose book had a typo on the first page, one introduced after his last look at the galleys.....
Oh, do I know this experience too intimately. I once returned a copy-edited manuscript to my publisher, telling them it was unworkable, and they needed to begin the process again with a new copyeditor. This was at Simon & Schuster. To convince them with a minimum of discussion, I copyedited the first 20 pages of the copyedited version, showing them factual errors that hadn't existed in the original, and how the copyeditor had failed to understand how first-person voice works. The process was vexing, but when it was over I felt badly for the copyeditor, who clearly had no idea what they were doing.
I can imagine how frustrating that was and you have my sympathy! I wonder if some copy editors are auditioning for editing positions? Because rewriting books so grossly seems way outside their remit. On the plus side, most of my copy editors have been helpful and restrained.
Publishers have shifted away from in-house copyeditors to freelancers, so publishers will sometimes hire a copy-editor without vetting them sufficiently. I don't know any acquisitions editors who have come from the ranks of copy-editors, though I'm sure one or two have.
Publishing is like Hollywood: lots of aspirants with big (and unrealistic) dreams. I've had students who don't write well tell me they want to become editors.....
I taught copy editors in the extension programs at Berkeley and the University of Washington. One of my first lessons was that not every author has a beautiful voice, or needs to. (Comma splice intended.) What matters more is authenticity. Readers sense it. I could tell you tales from both sides of the desk. Suffice it to say that I feel your pain.
Authenticity is indeed the question, though the book actually does have a striking voice (amplified by performance) and when I've done readings from it in English it blows people away. What that copy editor was doing was giving it what we might now call an AI voice: the lines were characterless and dull, lacking originality and style.
PS: I taught English Comp. and started with ESL before shifting to creative writing and lit classes and I don't think that's a comma splice since "or needs to" isn't an independent clause.
I’ve encountered typos in published books before, and I’ve indeed wondered why they weren’t caught. I never imagined that the writer might be so burdened by an all but incompetent editor, he would be forced, in the service of saving his sanity, to move the manuscript as quickly as possible. I’m angered and saddened for writers who must endure such editors. And I’m grateful to you, Lev, for giving us readers a glimpse into the dark underbelly that lurks beneath the published work. Thank you for this insightful piece!
Thanks for commenting, and in/re typos, anything is possible in the crazy world of publishing. I had a friend whose book had a typo on the first page, one introduced after his last look at the galleys.....
Oh, do I know this experience too intimately. I once returned a copy-edited manuscript to my publisher, telling them it was unworkable, and they needed to begin the process again with a new copyeditor. This was at Simon & Schuster. To convince them with a minimum of discussion, I copyedited the first 20 pages of the copyedited version, showing them factual errors that hadn't existed in the original, and how the copyeditor had failed to understand how first-person voice works. The process was vexing, but when it was over I felt badly for the copyeditor, who clearly had no idea what they were doing.
I can imagine how frustrating that was and you have my sympathy! I wonder if some copy editors are auditioning for editing positions? Because rewriting books so grossly seems way outside their remit. On the plus side, most of my copy editors have been helpful and restrained.
Publishers have shifted away from in-house copyeditors to freelancers, so publishers will sometimes hire a copy-editor without vetting them sufficiently. I don't know any acquisitions editors who have come from the ranks of copy-editors, though I'm sure one or two have.
Publishing is like Hollywood: lots of aspirants with big (and unrealistic) dreams. I've had students who don't write well tell me they want to become editors.....
I taught copy editors in the extension programs at Berkeley and the University of Washington. One of my first lessons was that not every author has a beautiful voice, or needs to. (Comma splice intended.) What matters more is authenticity. Readers sense it. I could tell you tales from both sides of the desk. Suffice it to say that I feel your pain.
Thanks.
Authenticity is indeed the question, though the book actually does have a striking voice (amplified by performance) and when I've done readings from it in English it blows people away. What that copy editor was doing was giving it what we might now call an AI voice: the lines were characterless and dull, lacking originality and style.
PS: I taught English Comp. and started with ESL before shifting to creative writing and lit classes and I don't think that's a comma splice since "or needs to" isn't an independent clause.
We could debate that. Let's not and say we did.
LOL
This was well before AI, back in the mid-2000s, but it sure feels like it. :-)