#copyediting

[lucybellwood]

Me: HOLY SHIT I DID IT I SUBMITTED THE GRAPHIC NOVEL TO THE EDITORS I'M DONE AAAAA

Also Me: I have combed through the PDF of the graphic novel directly after submitting it and discovered 54 more copyediting, lettering, and art issues to be addressed. In this color-coded spreadsheet I will...

[lxcke]

Art Portfolio: @lxcke-art Keep the lights on: Donate with Ko-Fi

Prices may increase depending on how huge the project is. Baseline price is non-negotiable. We will reasonably discuss before I charge anything!

I'm professional, but friendly! Don't be scared to get in touch. My communication style can change to suit your needs. If you need someone energetic and leadership-friendly, I got you! If you need a mellow study guide, I can do that too. I also know how to communicate with people who have disabilities or language barriers.

If you can't afford my services, please share this around. Bills are getting crazy for me lately. Thanks guys!

[conceptual-orange]

just got appointed Chief Surgeon (head copyeditor) of the unit (college yearbook) bring me my cowboy hat

[heirdaphne]

⚡ TRADE OFFER ⚡ I receive: credit as your editor | You receive: my services for free!

Hi! I'm a professional editor with a background in academia and medical publishing (think journals, newsletters, and institutional content). I'm expanding my niche and offering pro bono editing for the next four months (at least) to build a diverse portfolio, so this is a genuinely no-strings deal.

What I can help with:

Scripts: video games, comics, visual novels, shows, and more

Fanfiction & original fiction (alpha and beta reading available!)

TTRPGs, zines, and guides

Nonfiction, essays, and academic-adjacent writing

Not seeing your medium? Contact me anyway, I'm open to discussion!

What I actually do: I'll give you feedback on diction, wording, flow, tone, and typesetting. Whether you need a light proofread or deeper developmental notes, we can figure out what works best for your project!

I have some script-writing experience and I'm actively building more, so indie devs and comic writers, don't be shy :)

📌 NSFW-Friendly!

Most of my existing work is confidential, dealing with editorial calendars, or fanfiction-related, which is exactly why I'm doing this; I want visible credits I can actually point to. Your project helps me as much as I help you! I'm open to any and all genres for now!

DM me/comment if you have questions!

Reblogs appreciated!

[literaryvein-reblogs]

Writing Notes: Novel Editing

Below are 4 different types of novel editing. Revising in the right order is essential if you want your book to be in the best shape possible.

Developmental Editing

Comes first.

Involves looking at the story as a whole.

Also called structural editing, or content editing.

Base components. Plot, structure, characterization, pace, viewpoint, narrative style, and tense:

Plot: Sequence of events that take the reader from the beginning to the end.

Structure: How the plot is organized. Even if B occurred after A, the reader might learn about B before the events of A are unveiled.

Characterization: How characters are represented such that we can make sense of their behavior as we journey with them through the story.

Pace: The speed at which the story unfolds. Effective pace ensures readers feel neither rushed nor bored. That doesn’t mean the pace remains steady; a story can include sections of fast-paced action and slower cool-downs.

Viewpoint: In each chapter or section, readers should understand who the narrator is—whose eyes they are seeing through, whose emotions they have access to, whose voice dominates the narrative. It also means understanding the restrictions in play such that head-hopping doesn’t pull the reader out of the story.

Narrative style: Is the narrative viewpoint conveyed in the first, second or third person? The choice determines a narrative’s style.

Tense: Is the story told in the present or the past tense? Each has its benefits and limitations.

Notes: On Developmental Editing

Types of developmental edits:

Full-novel edits in which the editor revises (or suggests revisions) that will improve the story;

critiques or manuscript evaluations that report on the strengths and weaknesses of the story; and

sensitivity reads that offer specialist reports on the potential misrepresentation and devaluation of marginalized others.

Different editors handle developmental edits in different ways.

One might include an assessment of genre and marketability; another might not.

Some editors revise the raw text; others restrict the edit to margin markup.

Check what you’re being offered against what you want.

Developmental editing isn’t about checking spelling, grammar, and punctuation.

Line Editing

The next step in the revision process; it is stylistic work. 

A strong sentence elevates story; a poorly crafted one can bury it.

This level of editing revises for style, sense, and flow.

Also called substantive editing or stylistic editing.

Editors will be addressing the following:

Authenticity of phrasing and word choice in relation to character voice

Character-trait consistency and unveiling

Clarity and consistency of viewpoint and narrative style

Cliché and awkward metaphor

Dialogue and how it conveys voice, mood, and intention

Sentence pace and flow, with special attention to repetition and overwriting

Tenses, and whether they’re effective and consistent

Told-versus-shown prose

Notes: On Line Editing

Types of sentence-level edits:

Full-novel line edits in which the editor revises (or suggests revisions) that will improve the line work;

line critiques that report on the strengths and weaknesses of the line craft; and 

mini line edits in which the editor revises an agreed section of the novel such that the author can hone their line craft and mimic the edit throughout the rest of the novel.

Different editors define their sentence-level services differently.

Some include technical checking (copy editing) with the stylistic work, while some do the stylistic and technical work in separate passes.

Check what you’re being offered against what you want.

Line-editing stage is not the ideal place to be fixing problems with plot, theme, pace and viewpoint. Fixes are likely to be inelegant and invasive.

Copy Editing

The technical side of sentence-level work.

Editors will be addressing the following:

Chapter sequencing

Consistency of proper-noun spelling

Dialogue tagging and punctuation

Letter, word, line, and paragraph spacing

Logic of timeline, environment, and character traits

Spelling, grammar, syntax, punctuation, hyphenation, and capitalization

Standard document formatting

Notes: On Copy Editing

Some editors offer line editing and copy editing together in a single pass. That combined service might be indicated by what it’s called, e.g. ‘line-/copy editing’. However, it might be called just ‘copy editing’ even though it includes stylistic work.

Check what you’re being offered against what you want.

Novel copy editing is best done in a single pass:

When an editor works on separate chunks of text, inconsistencies are likely to slip through.

One pass of a sentence-level edit is not enough to ready a novel for publication. Final quality control is necessary.

Proofreading

The last stage of the editing process prior to publication.

Every novel, whether it’s being delivered in print or digitally, requires a final quality-control check.

What a Proofreader Does

Looks for literal errors and layout problems that slipped through previous rounds of revision or were introduced at design stage.

Authors preparing for print can ask a proofreader to annotate page proofs. These are almost what a reader would see if they pulled the novel off the shelf.

Others ask proofreaders to amend the raw text, either because they’re preparing for e-publication or for audiobook narration.

Proofreaders are more than typo hunters

They check for consistency of spelling, punctuation and grammar, but also for layout problems such as (but not limited to) indentation, line spacing, inconsistent chapter drops, missing page numbers, and font and heading styles.

The art of good proofreading lies in knowing when to change and when to leave well enough alone.

A good proofreader should understand the impact of their revisions—not only in relation to the knock-on effect on other pages but also to the cost if a third-party designer/formatter is part of the team.

Notes: On Proofreading

A proofread is rarely enough, no matter how experienced the writer. It’s the last line of defense, not the only line of defense.

Be sure to clarify with an editor what you want and which mediums the editor works with. Proofreading designed page proofs requires an additional level of checking that a raw-text review doesn’t. And some editors work only on raw text, some only on PDF, and some only on hard copy.

Proofreading is about quality control. The proofreader should be polishing the manuscript, not filling in plot holes or trimming purple prose.

PROOFREADING CHECKLIST

Author:

Title:

Prelims

Title page. The title of the book, the author’s name & the publisher are correct

Copyright page. Check that author name and date of publication are correct, and that the copyright statement is present and correct

Dedication. The spelling/punctuation style are correct & consistent

Acknowledgements. The spelling/punctuation style are correct & consistent

Foreword. The spelling, layout and punctuation style are correct and consistent

Preface. The spelling, layout and punctuation style are correct and consistent

Table of contents. Check against all chapter titles & subheadings in main text for consistency of spelling/capitalization; Check page numbers against main text

Figures, tables, maps, plates. Check against all entries in main text for consistency of spelling/capitalization; Page numbers against entries in main text

List of contributors. Check consistency with chapters in main text Are the names spelled correctly and rendered consistently (e.g. A. B. Smith, AB Smith, A.B. Smith, Alan B. Smith etc.)?

Pagination. Check that all prelim pages are numbered consecutively and correctly in Roman (i, ii, etc. unless brief specifies Arabic); Check that size and position of page numbers is correct and consistent

Running heads. Check that running heads in prelims are correct and consistent (size, font, colour, position on page)

Main Text

Pagination

Check that all text pages are numbered consecutively in main text

Check that size and position of page numbers is correct and consistent

Check that first page of the first chapter starts on a recto (right-hand page)

Check that all odd page numbers are on rectos

Running heads

Check that running heads match chapter heads (or abbreviated forms of them)

Running heads are correct/consistent (size, font, colour, position on page)

Running heads and folio numbers have been removed from landscaped figures and tables

Check that running heads have been removed from part- and chapter title pages

Chapter titles and headings (incl. subheadings)

Consistency of font, spacing, colour, size & position on page for each heading level

Check that capitalization is correct and consistent for each heading level

Check that each chapter drop is consistent

Check that space above and below is consistent within heading level

Lists

Check that spacing above and below lists is consistent

Ensure line spacing of list entries is consistent

Check that bullet style is consistent within list type

Check that end-of-line punctuation is consistent within list

Page depth

Check page depth is consistent throughout

Look out for uneven page depths on facing rectos (right-hand pages) and versos (left-hand pages)

Page margins

Is the text area consistent throughout/adequate for printing/readability purposes?

Notes and cross-references

Ensure all notes are cued/numbered consecutively by chapter or through the book

Check that the note numbers given match the in-text note markers

Check each note appears on the appropriate page; if footnotes run over to the next page, there should be a short rule above the continuation (or other indicator as given by house style)

Check any cross-references in the text to chapters, figures or tables

Highlight any cross-references that still need to be completed

Ensure that in-text citations are presented according to preferred style and can be located in the book's references or bibliography

More layout problems to look out for:

Uneven spacing and leading

Irregular indentation of extracts

Crooked lines, especially in captions and headings

Wrong or inconsistent typefaces or type sizes

Bad word breaks that might trip the reader (e.g. cow-orker, trip-od)

Widows and orphans

More than two end-of-line hyphens stacked on top of each other

Paragraph indentation (first paragraphs in a chapter or section are often not indented)

Hyphens that should be dashes (e.g. when used parenthetically/in number ranges)

Double spaces after full stops (periods)

Rogue spaces at the beginning and end of paragraphs

Extracts

Check punctuation of sources

Check that extracts are set consistently (size, font, colour, position)

Query any missing acknowledgements/permissions

Figures, tables, maps, plates

Check that quality is acceptable

Is numbering correct and consistent?

Is the design consistent (font, size, colour, spacing)?

Check captions against lists of figures, tables or illustrations in the prelims

Check spelling, punctuation/grammar of figure labels and table column headings

Check alignment of columns in tables and positioning of ruled lines

Check that all illustrations provide a credit/source acknowledgement and query if any appear to be missing

End Matter

Notes

Ensure all notes are cued & numbered consecutively by chapter/through the book

If notes are grouped at the end of the book, check the text and the page numbers given alongside to ensure they match the main text and the contents page

Check that the note numbers given match the in-text note markers

If running heads include cross-references to page numbers, check these are correct, or fill in if required

Glossary

Is the list in alphabetical order?

Check that the layout is consistent

Afterword

Check that the spelling, layout and punctuation style are correct and consistent

Appendices

Check that the layout is consistent

Check that the numbering is consistent and matches any in-text cross references and the contents list

Bibliography/references

Is the list in alphabetical order?

Has the preferred reference style been used correctly and consistently?

Pagination and layout

Check that all text pages are numbered consecutively in the end matter

Check that size and position of page numbers is correct and consistent

Page depth

Check page depth is consistent throughout

Look out for uneven page depths on facing rectos and versos

Page margins

Text area is consistent throughout & adequate for printing & readability purposes

Running heads

Check that running heads match chapter heads (or abbreviated forms of them)

Check that running heads are correct and consistent (size, font, colour, position on page)

FINAL NOTES

Authors need to take their books through all the types of editing.

That doesn’t mean hiring third party professionals for each stage.

Writing groups, self-study courses, how-to books, and self publishing organizations are all great sources of editorial support.

If you decide to work with a professional, invest in one who can help you where you’re weakest:

You might be a great structural self-editor but prone to overwriting. Or you might have nailed line craft but need help with story development.

Pay attention to the order of play when it comes to revision.

Fixing plot holes at proofreading stage might damage previous rounds of editing.

Source More: On Editing

[windandwater]

things that are not an emdash:

text - text

text text – text text text

text  –

text -

text–

text-

text text---text text text

this is a hyphen: -

you use it to divide or combine words. well-known. old-fashioned. when used to divide words, it's usually over a line break. when and how you should combine words is your extracurricular reading.

this is an en dash: –

you use it for ranges of numbers, times, or dates. January 5 – February 10. 1:00 – 2:30. 3 – 4. you put spaces around an endash. Microsoft Word autocorrects space hyphen space to an endash, which is not always correct.

things that are an emdash:

text text—text text text

text text--text text

text text — text text

text text -- text text

-- is two hyphens in a row and can be used instead of an emdash in a pinch, but — is better, especially for any published writing.

Microsoft word autocorrects -- to — when you don't put spaces around it, but a lot of people don't know to use -- in the first place and end up with a wildly incorrect endash.

whether or not you put spaces around an emdash is up to your styleguide.

I deeply prefer Chicago style over everything else so I also prefer no spaces. if you're more of an AP style user, you might be more inclined towards spaces, because AP is incorrect about everything. if you've only ever used MLA, you are beyond my help. whatever APA or Bluebook are doing is none of my business.

in general, if you're writing fiction, it's better to stick to Chicago style, and that *is* an unbiased opinion. you can look up what the others are for if you like.

the most important thing is consistency: do it the same way every single time.

however, using spaces around an endash or hyphen that should be an emdash is always incorrect.

other persistently incorrect usage of an emdash:

text— text text

text —text text text

how you use emdashes is another post entirely and is often a matter of personal style. more extracurricular reading. but you definitely need to use it when you're cutting off in the middle of dialogue, e.g.:

"Well, I don't really—" "I do," said her friend, interrupting.

you should also learn when to use a semicolon vs. colon vs. emdash. they all serve different purposes. in general terms, an emdash is a more abrupt break in the sentence, but please use them on purpose, knowing exactly what they are.

and no more space hyphen space. I die a little inside every time. please.

the emdash is not on the keyboard. to easily get an emdash outside of Microsoft Fucking Word, use Get an Emdash. click the button and it will automatically be put on your clipboard for an easy copy/paste.

in my next post: I teach you how to write a styleguide for your fanfiction.

[cmchimely]

The Psychology of Monster Romance

The Psychology of Monster Romances: Why We Crave the Beastly Heartthrob

Monster romances have clawed their way into the spotlight of popular fiction, blending the thrill of the unknown with the warmth of heartfelt connection. From timeless tales like Beauty and the Beast to modern gems such as Tiffany Roberts' Ensnared (my favorite monster romance)—where a human finds love with an alien arachnid-like being (Ketahn is so hot)—or Ruby Dixon's Ice Planet Barbarians series, featuring blue-skinned barbarians on frozen worlds, these stories captivate readers by pairing ordinary humans with sexy extraordinary creatures.

But what's the psychological draw? Let us explore the appeal through a psychological lens, grounded in real concepts like attachment theory and evolutionary psychology, while touching on cultural impacts, ethics, power dynamics, how these monstrous suitors diverge from human men, and the undeniable sex appeal.

The Allure: Escapism and Embracing the “Other”

At their core, monster romances tap into our deep-seated need for escapism. Psychologically, humans are wired for novelty—our brains release dopamine when we encounter something new and exciting, much like the rush from a rollercoaster or the honeymoon stage of a new relationship. In these stories, the monster represents the ultimate "other," a being far removed from everyday life, allowing readers to step outside societal norms without real-world consequences. Evolutionary psychology suggests this stems from an ancient drive to explore and adapt; just as our ancestors sought out diverse environments for survival, we now seek diverse fantasies for emotional fulfillment.

Take classics like Beauty and the Beast, where the beast's transformation symbolizes inner beauty over outward appearance. And let’s be honest—Belle totally wanted to bone the beast, not the human. She didn’t even know about the curse!

Modern iterations, such as Dixon's blue aliens who resonate with human mates through a mystical "khui," amplify this by offering perfect attunement—a soulmate— a stark contrast to the miscommunications in real relationships. These narratives appeal because they fulfill attachment needs: monsters often embody secure attachment figures, providing unwavering loyalty, obsession, and protection. In a world where human connections can feel fleeting, the monster's devotion feels like a balm, reducing anxiety and boosting self-esteem. It's not just fantasy; it's therapy in book form.

Cultural Ripples: Challenging Norms and Promoting Diversity

Culturally, monster romances are more than guilty pleasures—they're subversive forces reshaping how we view love and identity. In an era of increasing diversity and inclusion, these stories mirror societal shifts toward accepting differences, whether in race, gender, or ability. This aligns with social identity theory, which suggests that we form groups to build belonging, but expanding those groups reduces prejudice. By humanizing monsters, authors like Roberts in Ensnared—with its interspecies bond—encourage readers to empathize with the marginalized, fostering a broader cultural empathy.

These tales also critique toxic masculinity and patriarchal structures. Monsters often subvert traditional gender roles; a hulking creature might be gentle and nurturing, challenging the idea that strength equals dominance. This cultural work helps readers process real-world issues, like xenophobia or ableism, through metaphor. For instance, stories involving vampires or werewolves (think Twilight's Edward Cullen) explore immortality and isolation, reflecting modern loneliness epidemics. Although, calling vampires monsters is a stretch in my opinion.

Overall, monster romances promote a cultural narrative of love without borders, pushing back against homogeneity in media and encouraging growth through imaginative empathy.

Ethics and Power Dynamics: Navigating the Shadows

No discussion of monster romances is complete without addressing the ethical minefield, particularly power imbalances. Monsters are often physically superior—stronger, faster, sometimes immortal—which raises questions about consent and agency. From a psychological standpoint, this ties into power dynamics in relationships, where imbalances can lead to coercion or dependency. Ethically, authors must handle this carefully to avoid glorifying abuse. We need to remind ourselves of concepts like informed consent and healthy boundaries. (Not bashing dark romance. It’s not my cup of tea, but I’ve indulged here and there).

In well-crafted stories, these dynamics are explored thoughtfully. Dixon's barbarians, for example, emphasize mutual resonance and choice, turning potential predation into partnership. Stories like The Shape of Water delve into this by portraying a mute woman and an amphibious creature as vulnerable equals.

However, when power tips too far—say, a monster who could easily overpower their human lover—it risks normalizing unhealthy patterns. Readers might find appeal in the fantasy of surrender, but it's crucial to distinguish between consensual role-play and real exploitation. These narratives can even serve as ethical mirrors, prompting discussions on consent in our own lives, making them tools for cultural reflection rather than endorsement.

Diverging from Human Men: The Idealized Alternative

One of the most intriguing aspects is how monsters diverge from human men, often embodying traits that feel refreshingly unattainable in reality. Human partners come with baggage—flaws like inconsistency or emotional unavailability—rooted in our shared humanity. Monsters, by contrast, are blank slates for idealization. Projection plays a big role here; readers project desires onto these beings, creating perfect mates free from societal conditioning.

In Roberts' Ensnared, the spider-like alien offers intense protectiveness without the jealousy or pettiness that might plague a human suitor. Dixon's aliens provide raw, instinctual devotion, bypassing the games of modern dating. This divergence appeals to evolutionary drives for reliable providers, but with a twist: monsters aren't bound by human frailties like aging or infidelity. They represent a psychological upgrade—loyal, communicative (often telepathically), and singularly focused. It's a rebellion against the "divergence" of real men from romantic ideals, offering catharsis for those disillusioned with dating apps and ghosting. Frankly, if I could be with a monster who was all about me, I would.

The Sex Appeal: Danger, Exoticism, and Sensory Overload

Let's not skirt around the obvious: monster romances are steamy, and their sex appeal is a huge draw. This stems from the thrill of danger—our fight-or-flight response mixes with arousal, creating an intoxicating cocktail of lust, longing, and need. Evolutionary psychology links this to risk-taking; just as peahens choose flashy, "dangerous" peacocks, humans are drawn to the exotic.

(Think about the rise of masked men in TikTok. The women thirst over scenarios where these men in Ghostface masks kidnap them. I find the pandering to these women a bit uncomfortable, but to each their own.)

Physical differences amplify this: tentacles, scales, or extra appendages promise novel sensations, tapping into sensory curiosity.

In stories like Dixon's series, the aliens' unique anatomies (vibrating ridges, anyone? They’re vibrating phalluses) heighten eroticism, fulfilling fantasies of transcendence beyond human limitations. Classics like vampire lore add a bite of masochism, where surrender to the beast evokes submission without shame. Ethically, this is fine in fiction—it's about exploring desires safely. The appeal lies in liberation: monsters allow us to indulge taboos, boosting libido through novelty while reinforcing that love (and lust) can be monstrously good.

Conclusion: A Monstrous Mirror to Our Desires

Monster romances aren't just escapism; they're a playground where we explore identity, culture, ethics, and desire. From the devoted beasts of classics to the alien lovers in Roberts' and Dixon's works, these stories appeal by offering idealized alternatives to human flaws, challenging cultural norms, and navigating complex dynamics with a steamy edge. They remind us that love's true monster might be our own unmet needs—and in embracing the beast, we find a bit more humanity. If you're diving into this genre, start with one of these; who knows, you might uncover your own inner romantic beast. Written by Cassandra M. Chimely

[christinaroseandrews]

So today in even professional writers with journalism / English degrees can get tripped up on homophones, I was reading NPR and found this gem.

I mean considering what's going on in Minnesota and everything to do with ICE, I do not doubt that people want to douse the whole thing in alcohol / other types of liquid, but this is the wrong verb in this context.

The correct one is "pores over." Yes, I know that looks weird, but this is English for you.

I'm also not throwing shade on NPR, they've been hit hard when it comes to budgets and I suspect that a lot of the copy editors / proofreaders are no longer there. And to be honest the article is still a good one, and an important one, about what people are doing to document ICE's crimes. But it's still amusing to run into funny homophones in the wild.