Critiques | Copy-editing | Line Editing | Proofreading
There was an air of relaxed conviviality about the Derby Quad last weekend, but drive and purpose hummed beneath the surface. It seems there’s something about seeing people in the flesh, reconnecting with old acquaintances, and chewing the industry fat that inspires activity.
From my university days onwards, the distance between us meant I’d only see my parents three or four times a year, and then for just a few days at a time. That was usually enough because we tended to slip into old patterns of behaviour: the picky, argumentative parents and the touchy, truculent child. We loved each other best in small doses.
Professional editing is vital but, taken in a single chunk, it represents a financial cost that many independent authors (and indeed some independent presses) balk at. This is a problem because – even if the core work is good – it can be undermined by plot inconsistencies, lacklustre characterisation, or simple technical errors. You may save money on the project but the cost of cutting corners can be huge.
As a novice to the convention circuit, you study the schedule, make careful plans as to what panels and events you most want to attend, and then you spend all your time dashing around, assiduously writing notes, sweating, and occasionally weeping in the corner. It’s damned hard work. You wonder why people do this to themselves year on year and (looking around in despair and frustration) why everyone else seems to be just…hanging around in the bar.