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CLEVELAND (June 16, 2009) – Get ready for the Summer Sessions, a FREE live concert series this summer at the Rock and Roll Hall of Fame and Museum beginning on Wednesday, July 8 on the Museum plaza (weather permitting, if necessary it will be moved inside to the Main Stage) at 7 p.m. This concert series is presented by Cleveland.com and will take place every other Wednesday evening through August 19, 2009. Generous support is also being provided by Jim Beam, KeyBank, Vitamin Water and Radio 92.3.
The country and region's most popular up-and-coming bands and artists will perform, many for the first time at the Rock Hall. The latest in web technology, webcasting and blogging, will allow concert attendees to watch the concerts live, relive their favorite concert moments and communicate with their favorite bands via blog posts. Each Summer Sessions artist or band has been invited to begin a blog on cleveland.com to share their experiences with fans: how they got started, their favorite things about performing live, their aspirations for the future and more.
The concerts will be webcast live at: Cleveland.com/sessions. Video archives of the concerts will also become available.
Summer Sessions free concert series schedule (please check Cleveland.com for complete concert schedule and updates):
JULY 8 – 7 p.m.
• The New York Times describes Man Man as a "delirious, scrapheap-eclectic Philadelphia outfit." Previously opening for such established bands as Modest Mouse, the Arcade Fire and Cat Power, Man Man may best be known for their non-stop live shows of kaleidoscopic sound. Their first album on Anti-Records, Rabit Habits, was released this year. The Rock and Roll Hall of Fame and Museum is one of the first stops on the group's recently announced headlining tour that begins July 3rd.
• Original experimental indie rock may be hard to come by these days, but Cleveland act Mystery of Two does a notable job of channeling influences (Pere Ubu, Talking Heads and fIREHOSE) in its debut, Arrows Are All You Know. The Plain Dealer raves, "This first effort can be considered a bull's-eye."
JULY 22 – 7 p.m.
• Akron/Family, based in New York City and Williamsport, PA, are celebrating the release of their new album, Set 'Em Wild, Set 'Em Free. They are a band boiling over with ideas and through the last year that have become especially apparent in a live setting – the ever-evolving Akron/Family live ensemble has become bigger, wilder, more communal, and as Pitchfork put it, "Freaking/Awesome."
• The Black Swans, from Columbus, Ohio, are no strangers to the independent rock scene. The band has released three intense and haunting albums in their career, the most recent titled Change! According to USA Today, the Black Swans possess a "doleful sound that grows on you like kudzu and eventually often becomes quite mesmerizing."
AUGUST 5 – 7 p.m.
• Currently based in Brooklyn, NY, Chairlift originally hail from Boulder, CO where the members of the band initially came together to make background music for haunted houses. The group has since come a long way, enjoying major label success and sharing the stage with bands like MGMT and Yeasayer. In 2008, their song "Bruises" was featured in a 2008 commercial introducing the fourth generation of the iPod Nano.
• Cleveland quintet JJ Magazine formed five years ago and this year were noted by Cleveland Scene as a band making "some of the most sparkling and engaging pop music in Cleveland." The group cites influences ranging from Britpop to Motown as factors in their sound. Their latest album, Dinner, was released on April 9, 2009.
AUGUST 19 – 7 p.m.
• Youngstown's Gil Mantera's Party Dream formed during a blizzard in 1999 as a joke, and by 2006 they were selling out shows across the country. They have supported bands on tour such as Art Brut, the Rapture and GWAR, and in 2006, Village Voice honored them with the Best Show at the SXSW festival that year.
• This is a Shakedown!, although relatively new to the Cleveland music scene, is comprised of members of previously popular Northeast Ohio bands Dozen Dead Roses and Leo. The group's first full-length album, produced by Michael Seifert (Tori Amos, Regina Spektor), was released in May 2009 and a national tour is scheduled for this summer.
Each concert will be held outside on the Museum's plaza. In case of bad weather, the shows will be moved indoors on the Main Stage. Please visit Cleveland.com/sessions for more information.
About the Rock and Roll Hall of Fame and Museum
The Rock and Roll Hall of Fame and Museum is the nonprofit organization that exists to educate visitors, fans and scholars from around the world about the history and continuing significance of rock and roll music. It carries out this mission both through its operation of a world-class museum that collects, preserves, exhibits and interprets this art form and through its library and archives as well as its educational programs.
The Museum is open seven days a week from 10 a.m. to 5:30 p.m. On Wednesdays (and Saturdays through Labor Day), the Museum is open until 9 p.m. Museum admission is $22 for adults, $18 for adult residents of Greater Cleveland, $17 for seniors (65+), $13 for youth (9-12), children under 8 and Museum Members are always free, for information or to join the membership program call 216. 515.8425. For general inquiries, please call 216.781.ROCK or visit http://www.rockhall.com. The Museum is generously funded by Cuyahoga County residents through Cuyahoga Arts and Culture.
About Cleveland.com
Cleveland.com, the ultimate online guide to the city, is the premier news and information Web site in the state of Ohio attracting over 1.1 million unique users every single month. The Web site gives users absolutely everything they need to know about northeast Ohio. It's packed with local and national news, sports, arts and entertainment information, community events, weather, traffic and more - all updated minute-by-minute of every single day.


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Miles Dewey Davis III is born in Alton, Illinois, a suburb of St. Louis.
Miles Davis sits in with Billy Eckstine's band, which includes Charlie Parker and Dizzy Gillespie, when they pass through St. Louis.
Miles Davis moves from St. Louis to New York, where he enrolls at the Juilliard School of Music and involves himself on the jazz scene as a protégé of Charlie Parker and Dizzy Gillespie.
Miles Davis records as a member of Charlie Parker's quintet on sessions for Savoy Records.
Miles Davis makes his first recordings as a bandleader, cutting sides for Savoy that are credited to the Miles Davis All-Stars.
The Miles Davis Nonet performs a series of shows at New York's Royal Roost jazz club, premiering a "cooler" new sound.
Miles Davis cuts the first of three sessions for Capitol Records with a nine-piece band. The recordings are released as 78 rpm singles and later collected in album form as The Birth of the Cool.
Having kicked a heroin habit, Miles Davis appears at the first Newport Jazz Festival, where his show-stopping performance helps land a new contract with Columbia Records
Davis releases the sophisticated 'Round About Midnight on Columbia Records, where he'll remain for the next thirty years.
Miles wins a Grammy for "Best Jazz Instrumental Performance" for the double live album We Want Miles, released the previous year.
"Miles Ahead: A Tribute to an American Music Legend" is held at New York's Radio City Music Hall. The event is hosted by Bill Cosby and features the Miles Davis Alumni Orchestra, including Wayne Shorter, Tony Williams and Ron Carter.
A major exhibition of artwork by trumpeter Miles Davis opens at New York's Tower Gallery.
Miles Davis accepts the Sonning Award, Europe's most prestigious music award, in Copenhagen, Denmark. Previous winners include Leonard Bernstein, Andre Segovia and Igor Stravinsky.
Miles Davis releases You're Under Arrest. It is his final album of new material for Columbia Records, ending a thirty-year association.
Miles Davis' Tutu, his first album for the Warner Bros. label, is released. It will earn Davis his fourth Grammy.
Miles Davis: The Columbia Years 1955-1985 is released. The box set is thematically organized, with an album apiece devoted to blues, standards, originals, "moods" and "electric."
Miles Davis joins Quincy Davis onstage at the Montreux Jazz Festival for a set that draws extensively from Davis' early work with arranger Gil Evans. The performance is released as Miles & Quincy Live at Montreux.
Miles Davis dies of pneumonia at St. John's Hospital and Health Center in Santa Monica, California, at age 65.
Miles Davis' last studio recording, Doo-Bop - cut with rapper Eazy Mo Bee - is released.
Miles Davis posthumously wins his eight and final Grammy, for Best Rhythm & Blues Instrumental Performance, for Doo-Bop.
Miles Davis' Kind of Blue receives its third platinum certification from the RIAA, signifying sales of 3 million copies.
Miles Davis' Bitches Brew receives platinum certification from the RIAA, signifying sales of one million copies, nearly a quarter century after its initial release.
Miles Davis is inducted into the Rock and Roll Hall of Fame at the 21st annual induction dinner. Herbie Hancock is his presenter.

subset: commoncrawl


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Honestly Fanatics,I could care less about a score.
However, I feel pretty strong about our defense keeping the Red-Raiders out of the end-zone for the entire 60 minutes!
31-9 Cyclones
I just want the win, but I'm going with 45-28.
Kansas Must Be Destroyed
Sic Semper Jayhawks
31-27 Cyclone victory.
When Prepared, Fear No One.
1,953 crying Raiders
1 Raider loss
3 Raider trolls banned
Self-Proclaimed Smartest and Goodest Looking Poster on Cyclone Fanatic 4 years running*
*Fitzy not included
I predict their fans will continue to be d-bags no matter the outcome
Originally Posted by johnnydugouts
MM and gesell are pretty much a wash. is niang a better player than woodbury? of course, but that doesnt mean its a good matchup for him, especially with a much more athletic defensive player backing up woodbury.
Originally Posted by GTO
Georges doesn't talk trash. He makes promises and then delivers on those promises.
Originally Posted by Hoiball92
Jet fuel doesn't melt steel beams
I'll go with 31-23. I think the key is our defense keeping them to under 24, and I think we can do it.
27-24 Cyclones
ISU 20 Tech 7
Not the scoring output anyone would predict. defense, defense and more defense. Just enough Jantz/White/Johnson on O.
I thought we had another predictions thread last week ... oh well, I'll amend my prediction from that one (I guess an OT win, I think).
Iowa State 27, Texas Tech 20.
In overtime.
Originally Posted by Psyclone Brian
Honestly Fanatics,I could care less about a score.
However, I feel pretty strong about our defense keeping the Red-Raiders out of the end-zone for the entire 60 minutes!
31-9 Cyclones
I'm worried about their offense, but after watching them try to tackle the Children of the Poor, I'm not worried about the nations #1 ranked defense. 38-30 ISU!
I predict that the menstruation raiders will become the new butthurt aggies of the big 12.
Prove me wrong, I DARE YOU!
raiders- 28
Last edited by CLONECONES; 09-27-2012 at 07:39 AM.
Self proclaimed 2012 CF Newcomer of the Year
Our Offense horrifies me....Our Defense makes me feel warm and fuzzy. ISU 33 TTU 24
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Regardless of if you're a graphic designer, a digital photographer, or just your Average Joe, image quality and accuracy are always important. Proper monitor calibration will ensure that your colors and black levels are true, and will ensure that your monitor is producing the best results for editing and viewing images and videos. Plus, it'll be easier on your eyes! You could take your monitor to a professional to have it done, but why not do it yourself and save the money? The standard calibration process is relatively quick, hassle-free, and will help guarantee you're viewing content the way it is meant to be seen.
Related: Want a 4K monitor? Here's where you should spend your money
Here's our guide to calibrating your monitor to help make sure colors are represented accurately at all times. We can't guarantee you will produce results as good as the pros, but even these basic calibration procedures will help outshine your monitor's factory presets.
Before you begin
You're going to want to do several things before you begin the calibration process.
- Turn on your monitor at least a half hour before calibration so the monitor can warm up to its normal operating temperature and conditions.
- Set your monitor's resolution to its native, default screen resolution.
- Make sure your calibrating in a room with moderate ambient lighting. The room doesn't need to be pitch black, but you don't want the sharp glares and color casts resulting from direct light.
- Familiarize yourself with your monitor's display controls. They may be located on the monitor itself, on the keyboard, or within the operating system control panel.
How to calibrate using built-in utilities
Both Mac OS X and Windows have built-in display calibration tools to help guide you through the process, step-by-step, if you are new to the calibration process. The free tools should be the first stop if you're merely a casual image junkie or working on a tight budget. They are extremely handy, quick, and easy to locate on your operating system. Keep in mind the adjustments will be limited by the display type and model.
The assorted terms (i.e. gamma, white point, etc.) may seem a bit daunting at first glance, but each utility provides a relatively simple explanation of what they all mean. Realistically though, you don't need to know the ins-and-outs of the jargon in order to calibrate your monitor.
In Windows, the display calibration tool is located in the Display Control Panel (found under "Appearance" in most versions of the OS). If you are having trouble finding it, try entering "calibrate" in the search bar to scan through your computer's various folders and files. The results should show an option to calibrate your computer's monitor. Click it.
Related: Meet the successor to Windows' Control Panel
Window's thorough instructions will walk you through the calibration process once you've found and opened the software utility. Just follow the on-screen instructions to choose your display's gamma, brightness, contrast, and color balance settings. A sample image for you to match will accompany many of the settings. Simply make adjustments to mimic the sample as close as possible. Once the calibration wizard is complete, make sure to choose the "current calibration," or return to the previous calibration if you are unsatisfied with the results.
Mac OS X
In Mac OS X, the Display Calibrator Assistant is located in the system preferences under the "Displays" tab. If you are having trouble finding it, try entering "calibrate" in Spotlight to scan through your computer's various folders and files. The result should show an option to open the utility in the system preferences panel.
Mac's step-by-step instructions will walk you through the calibration process once you've found and opened the software utility. Just follow the on-screen instructions to choose your display's brightness, contrast, native gamma, target gamma, and target white point. Click "Continue" and save the calibration profile once you finish with all of the adjustments.


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On the first day of Christmas my true love gave to me...the 12 Coffees of Christmas Gift Set from CoffeeAM!
Okay, so we're not songwriters. But we do provide you with this fantastic coffee gift set, the perfect present for your coffee lover. The 12 Coffees of Christmas Gift Set doesn't come with one or two coffees; it comes with TWELVE different, delicious coffees at one astounding price! Here's what you'll get with this set:
- Pecan Pie
- Egg Nog
- Old-Fashioned Gingerbread
- Jack Frost
- Peppermint
- Mistletoe Joe
- Nutmeg Spice
- Reindeer Crunch
- Pumpkin Spice
- Christmas Blend
- Lump of Coal French Roast Coffee
- Jamaica Blue Mountain Blend
Each 2 oz. coffee pack is perfect for Christmas, making the 12 Coffees of Christmas Gift Set exactly what you need in your stocking!


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Enter your voucher code here. The value will be automatically deducted from the total price. Only one voucher can be redeemed per booking.
Agentmanager conditions
Terms and conditions of use
1 Content of the programme
Agent Manager is an online booking and information platform that Austrian Airlines AG ('OS' in the following text) makes available to Travel Agencies for the purpose of the sale of Austrian Airlines flight tickets. OS makes Agent Manager available to Travel Agencies without levying a usage charge. Travel agencies render agency and booking payments when using the system not to OS but, as the service provider, exclusively to the principal (customer). Agency and booking payments and other expenses associated with voluntary use of Agent Manager are therefore not paid separately by OS in line with the current market situation.2 Usage2.1 Those Entitled to Use the System2.1.1 The following are entitled to use the system:All companies operating a Travel Agency in Austria and able to present a commercial register excerpt to demonstrate this, or other independent persons operating a travel agency in Austria, inasmuch as their business operation is organised actively and on a continuing basis and can present a trade certificate to demonstrate this and whose business operation is oriented actively and on a continuing basis with the intention of the achievement of profit, i.e. the sale of flight tickets to third parties. For this reason, persons who purchase flights overwhelmingly for the purpose of own use and other private persons or consumers are excluded from using Agent Manager. OS retains the right to examine the appropriate documentation (commercial register excerpt, trade certificate or similar).2.1.2 All those entitled to use the system are to be described in the following text as the 'Travel Agency'.2.1.3 All Travel Agencies must be managed in a database at OS. As a result, Travel Agencies receive an OS Travel Agency ID assigned by OS which functions as a user name for user access.2.2 Beginning of UseFollowing registration in the internet, a user name and a password chosen by the participant itself (user access) are provided for the participant.2.3 Registration of User Access2.3.1 The Travel Agency requires the following to use Agent Manager:- a signed cooperation agreement with OS in which its OS Travel Agency ID (OS internal registration number) is givenand- a user access2.3.2 If the Travel Agency uses an OS Travel Agency ID, the user access for OS Agent Manager can be placed at the registration page of www.Agentmanager.at using the "Register now" link. OS will check the data of the Travel Agency and normally release the user access within 2 working days. The Travel Agency receives confirmation of the release of the user access through an e-mail to the e-mail address stored in the user profile.2.3.3 The data requested by OS at registration are to be provided in full and correctly. In the event that the data provided change after registration, the Travel Agency itself is obliged to correct the details in question. Registration of user access by a legal person may only be carried out by natural person with authorisation to represent, whose name must be provided.2.3.4 Upon registration of the user access, these Terms and Conditions of User are accepted. A claim for authorisation for use does not exist.
2.4 Use of the User Access/Loss of User Name and Password
2.4.1 Upon registration, the Travel Agency issues a password for identification. In order to avoid misuse, it must ensure that no unauthorised third party becomes aware of the password.2.4.2 The Travel Agency is required to change its password at regular intervals, and is also obliged to change its password immediately if an employee leaves the company.2.4.3 The password must be changed immediately if there is any suspicion of misuse.2.4.4 Austrian Leisure Sales must be immediately notified via the telephone number 05-1766-1034 of the loss of the user name and password or if there is a suspicion that unauthorised third parties may have gained knowledge thereof.2.4.5 The Travel Agency is fundamentally liable for any activities undertaken while using the user name and password. In the event that the Travel Agency is not responsible for the misuse of its user access, it is not liable.
2.5 Termination of User Access
2.5.1 The Travel Agency can terminate its user access at any time and without observance of a termination deadline by sending a mail to email@example.com. Termination by OS is only possible subject to observance of a period of two weeks unless the termination is made without previous notice with important reason.2.5.2 The Travel Agency is obliged to terminate the user access immediately if it permanently ceases commercial trading.2.5.3 An important reason for termination by OS without previous notice is considered to exist in particular if concrete indications of a grave or repeated breach of the Terms and Conditions of Use exist or a comparable interest exists on the part of OS such as protection from deceptive activities.2.5.4 In the cases named in 2.5.3, OS also has the authority to lock the user access. The authority to lock already exists where there is objective reason to suspect that an important reason exists, and for a period necessary to carry out a reasonable examination of the facts. The Travel Agency may not submit claims due to a user lock such as this. 2.5.5. Another registration of a user access following termination by OS, including under other user names, is inadmissible.
2.6 Duration of Use
2.6.1 Duration of use of Agent Manager is fundamentally unrestricted, unless the programme is terminated (cf. Figure 2.7), the user access is locked by OS (cf. Figure 2.5), or the user access is terminated by the user (as in Figure 2.5).2.6.2 In the event that the Travel Agency has not logged onto Agent Manager for 6 months, OS reserves the right to terminate the user access in accordance with Figure 2.5.1 following prior notification by e-mail.
2.7 Programme Termination
OS reserves the right to terminate Agent Manager following prior notification (at least 2 weeks). In this event, OS terminates the use of Agent Managers in accordance with Figure 220.127.116.11 Sales through Agent Manager3.1 Offers3.1.1 OS provides the Travel Agency with the price and availability information of OS about flights (offers) via Agent Manager. These offers are non-binding until a booking has been created by the Travel Agency and confirmed by OS in accordance with Figure 3.7.1 or 22.214.171.124.1.2 The offers show the OS ticket prices including taxes, charges and other surcharges. The Travel Agency is free to charge the customer for its services. In the event that the Travel Agency levies a charge, the Travel Agency must make clear to its customer that the charge is not a component part of the transportation fare of OS.
3.2 No Presentation of Prices on Price Comparison Pages
Agent Manager prices may not be presented on price comparison pages with the possibility of checking availability.
3.3 Booking
3.3.1 When booking a flight, the Travel Agency selects the available flights and prices applicable for the selected flights, and adds the passenger data to these.3.3.2 Name changes may not be made after the booking has been created.3.3.3 To earn automatic mileage credit with Miles & More or the frequent flyer programme of a partner airline of OS, the option exists to enter the Miles & More card number of the passenger in question.3.4 Payment3.4.1 Payment Types126.96.36.199 OS offers the option to pay using the following credit cards:
18.104.22.168. Cash payment Cash payments may be made via the non-IATA Service Team at Hegelgasse 21, 1010 Vienna or at a ticket counter in the Austrian federal provinces. 220.127.116.11 Payment by invoiceOS offers the option of payment by invoice once a credit check has produced a positive result.3.4.2 Payment HandlingOS handles the payment directly with the agent. 3.4.3 Increase of ChargesThe Travel Agency is aware that increases in charges of any kind (e.g. airport charges, other official charges) and of the kerosene surcharge that takes place between the time of booking and the issuing of the ticket is to be charged to the Travel Agency and paid by the Travel Agency to OS.
3.5 Ticket Type and Postal Dispatch
3.5.1 Ticket Type: etix®
If technically possible for the journey being booked, OS issues an electronic ticket (etix®) for the passenger. Issuing of a paper ticket is not necessary in this case.3.5.2 Ticket Dispatch of a Paper TicketIn the event that it is not possible to issue an electronic ticket for the journey booked, OS dispatches a paper ticket by post to the Travel Agency. Collection by the Travel Agency itself from the OS Office or a ticket counter in the Austrian federal provinces is also possible. If the ticket is dispatched by post to the Travel Agency, the Travel Agency is responsible for its delivery on time to the passenger.3.5.3 Ticket Loss OS accepts no liability between the Travel Agency and the customer for ticket losses or delays in the issuing of tickets. In the event of significant damage to or loss of a ticket or part of the ticket, or non-presentation of the same with the passenger coupon contained therein and all unused flight coupons, OS can on request by the Travel Agency or customer replace such a ticket wholly or in part without renewed payment of the flight price but subject to payment of a charge determined by OS if proof is provided that the ticket for the transportation in question was properly issued. OS can also require that the Travel Agency or customer pay the flight price for the replacement ticket in the form required by OS in the event that and inasmuch as the lost ticket or flight coupon that has been lost is paid in by somebody else for the purpose of transportation or refunding. OS will not demand any refunding for losses in cases where the loss is the fault of OS. In the event that proof of the loss is not furnished or both the Travel Agency and the customer refuse to sign the statement of obligation, the airline issuing the replacement ticket can demand payment for this up to the full flight price. This is refunded if the airline that issued the original ticket has arrived at the conclusion that the lost or damaged ticket has not been flown out before expiry of its validity. If the Travel Agency or the customer finds the original ticket again and submits this to the company issuing the ticket before expiry of validity, the replacement ticket is immediately refunded.
3.6 Booking Confirmation, Sales Tax Identification and Passenger Receipt
3.6.1 Booking Confirmation to the Travel Agency
Following every booking, OS sends an automatic booking confirmation by e-mail to the e-mail address of the Travel Agency provided in the booking. 3.6.2 Booking Confirmation to the Customer126.96.36.199 On request, a booking confirmation is also sent to the customer if an e-mail is provided for the customer in the booking process. 184.108.40.206 If the Travel Agency does not enter an e-mail address for the customer, OS works on the assumption that the Travel Agency wants to send the booking data to its customer by another means. OS recommends a printout of the pdf document is sent to the Travel Agency to do this.3.6.3 Sales Tax Identification126.96.36.199 Sales tax identification for domestic flights is either by OS on the Passenger Receipt or by the credit card institute authorised to do this, on the credit card bill.220.127.116.11 Sales tax identification via the ticket price may not be made on the record of services of the travel agency.3.6.4 Passenger Receipt18.104.22.168 The Passenger Receipt serves as a passenger coupon and a receipt. The Passenger Receipt is only issued once by OS.18.104.22.168 With paper tickets, OS delivers the Passenger Receipt together with the flight coupons.126.96.36.199 With etix® tickets, the Passenger Receipt is printed on request at the time the ticket is issued and delivered to the travel agency. The Travel Agency sends the Passenger Receipt to the passengers. 22.214.171.124 If the Passenger Receipt is not printed in the event that an etix ticket is issued, OS issues a Passenger Receipt at the time of check-in at the airport or the time of online web check-in for the first leg of the flight. 3.7 Ticket IssueTickets for bookings issued via Agent Manager are issued centrally by OS and posted if necessary.4 Rebookings4.1 Contacts for Rebookings4.1.1 Flights booked via Agent Manager can be rebooked by telephone. The customer can contact the OS Call Center or an OS ticket desk directly to do this.4.1.2 If the Travel Agency wants to rebook a ticket for a customer, it can contact Agency Support at OS. Rebooking by the Travel Agency for its customer presumes that the customer has consented to the Travel Agency doing this and being charged any additional payments arising as a result of the rebooking (cf. Figure 4.2).4.2 Additional Payments in Rebookings4.2.1 In the event that additional costs arise due to a rebooking such as rebooking charges or fare increases, these costs become due and are charged immediately at the time of rebooking with electronic tickets. As payment types, OS accepts the payment types named in Point 3.5.1. 4.2.2 Passenger Receipts with possible sales tax identification for additional payments made are usually printed out in the next check-in process and delivered to the passenger.4.2.3 In the event that the Travel Agency provides the customer with any advisory services due to rebooking, the Travel Agency is free to charge that customer a service charge. In the event that it does this, the Travel Agency shall make it clear to the customer that the charge is not a component part of the OS fare or a rebooking charge of OS.5 Cancellations and Refunds5.1 Cancellations5.1.1 Journeys booked via Agent Manager can be cancelled directly before the ticket issue. 5.1.3 The Travel Agency is free to calculate charges to the customer for its services provided in association with cancellations. In the event that the Travel Agency calculates a charge, the Travel Agency shall make it clear to its customer that the charge is not a component part of the transportation fare of OS or a charge for the processing of the refund of OS.5.2 Refunds5.2.1 Contacts for Refunds184.108.40.206 Refunds of tickets already issued been booked via Agent Manager can be made via OS. The customer can contact any OS Reservations Office directly to do this. In the event that the ticket has been paid for with a credit card, the refund is credited to the credit card used. 184.108.40.206 If the Travel Agency wants to make a ticket refund to a customer, Austrian Agency Support is available for use by all Travel Agencies. A refund by the Travel Agency to a customer presumes that the customer has consented to the Travel Agency doing this and to the charging of any costs incurred due to the refund in accordance with the fare conditions.22.214.171.124 The Travel Agency is free to calculate a charge to the customer for its services provided in association with the refunding of a charge. If the Travel Agency does calculate a charge, the Travel Agency shall make it clear to its customer that the charge is not a component part of the transportation fare of OS or a charge by OS for the cost of the refund.5.2.2 Passenger Receipt Requirement220.127.116.11 OS must claim back an already issued Passenger Receipt in the event of a refund.220.127.116.11. OS must claim back the unused coupons, including the Passenger Receipt, to refund a paper ticket.5.2.3 Credit Card/Invoice Account/Cash PaymentOS refunds all refundable amounts onto the credit card with which the ticket on which the refund is based has been paid for.If the ticket has been paid for via an invoice account, OS instigates a credit onto this account.If the ticket has been paid for in cash, OS instigates a cash payment.6 Schedule Changes6.1 Information on schedule changes6.1.1 In the event that OS makes rebookings or changes to the departure and arrival times of a booked journey due to changes in the schedule, information about these changes shall be provided by e-mail or by telephone. 6.1.2 In the event that no customer e-mail address has been provided with the booking, only the Travel Agency receives an e-mail notification. OS works on the assumption that, in this event, the Travel Agency wants to inform its customer.6.1.3 In the event that the Travel Agency does not want or is unable to inform its customer, it is possible for the Travel Agency to forward the e-mail to the OS e-mail address while providing a customer contact (e-mail or telephone number). OS will then inform the customer of the changes.7 Liability7.1. Travel Agencies may not use any software, mechanisms or other scripts connected with the use of Agent Manager that could disrupt the functioning of Agent Manager. Content may neither be blocked, overwritten nor altered.7.2. Travel Agencies may not resort to any measures that could result in unacceptable or excessive strain upon Agent Manager.7.3. Without the prior consent of OS, content presented on the Agent Manager website may not be copied, dispersed, used or duplicated in any other way. This also applies to copying using 'robot/crawler' search engine technologies or through other automatic mechanisms.7.4. Other than due to breaches of fundamental contractual obligations, OS is only liable for claims if and to the extent that OS, its legal representatives, managerial employees or other auxiliary persons are charged with premeditation or gross negligence.7.5. Inasmuch as OS is liable, the liability of OS is restricted, in the event of mildly negligent breaches of fundamental contractual obligations, to damage to property and assets that can be traced back to breaches of contractual obligations in the amount of predictable, typically occurring damage.7.6. OS is not liable for the replacement of indirect damage, in particular loss of earnings, unless there is premeditation or gross negligence on the part of the legal representatives, managerial employees or other auxiliary persons of OS.7.7 Neither OS nor the Travel Agency is responsible for non-performance or delays in performance as a result of force majeure, particularly in the form of natural disaster, strikes or organised labour disputes and warlike or terrorist activities. OS is liable for claims that could arise in this context due to flight cancellations, flight schedule changes or denied boarding in accordance with applicable legal regulations.8 Ticket Service ChargeThe Travel Agency is charged a ticket service charge by OS for issuing the tickets booked via Agent Manager in accordance with Annex 1 and 2 of the respective valid cooperation agreement between the Travel Agency and OS. 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(April 17, 2006) - ETSU junior Rhys Davies (Bridgend, Wales) has been selected to compete in his third Palmer Cup, June 29-30 on the 6,544-yard, par 71 Prestwick Golf Club. This year's event will mark the 10th Palmer Cup overall, an annual Ryder Cup-style competition between American collegiate golfers and their counterparts from
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Anne Marble
Joined: 22 Mar 2007
Posts: 614
Posted: Tue May 27, 2008 5:18 pm
Post subject: How Much Does Editing Matter to You
I've been following a thread about editing at the Baen Books message board. There were complaints about editing in a couple of recent books. Also, on another board, a reader complained about the editing in the one E-Reads book she bought and said that she would never buy another book from them again. (I have bought several books from them, and most were fine, but one of them was full of typos -- it looked as if they forgot to turn off Track Changes when putting the e-book together.
Anyway, they fixed it right away, finding most of the errors on their own and uploading a new version.)
How much does editing matter to you? In particular, do you notice typos, etc. (There are multiple levels of editing, but usually, when people talk about editing problems, they mean copyediting or proofreading issues.) Have you ever contacted a publisher about problems you encountered? Or do you just give up on that publisher if the errors are bad enough? And if you have contacted a publisher, what was the response?
Have you noticed more editing problems with print books or e-books, and do certain publishers (print or e) tend to be worse? E-book publishers are sometimes notorious for editing issues, but in the past, certain print publishers have been equally notorious for their lack of proofreading. Some have even claimed that readers don't care about editing -- only to find out that readers do care. And they spaek with their wallets.
I've often read posts where readers said that this publisher or that publisher had terrible editing. Yet I often don't notice problems -- or I only seem to notice them if the book isn't going well. This is odd as I'm an editor
, but I guess when I'm reading, I'm not reading the text letter for letter.
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Joined: 22 Mar 2007
Posts: 1254
Location: SE VA. USA
Posted: Tue May 27, 2008 9:39 pm
Post subject:
So far, I have only read print books. Usually, I just correct spelling, punctuation and Spanish language errors myself. One book had the same proper name spelled two different ways, and one scene where a character who was swimming in the sea with several others also appeared in a boat beside the swimmers. I made notes in pencil in the front of the book; I did not contact the author or the publisher.
One punctuation lapse that muddles the flow of the story for me is missing or additional quotation marks. Sometimes it is almost impossible to make sense of who is saying what. Another error that annoys me is the use of the nominative pronoun "I" when the objective pronoun "me" is needed;"Let John and
know if there is a problem" makes me cringe. One would never say or write, "Let
know . . ." in place of "Let
know . . .", or would one?
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Joined: 22 Mar 2007
Posts: 1502
Posted: Tue May 27, 2008 11:04 pm
Post subject:
I definitely notice copy-editing problems. In fact, I keep a log of those I notice in my fiction reading. Ebooks I have read are more likely to have poor editing and/or poor FORMATTING than printed books. In terms of ebooks from Baen, they definitely need a good copy-editor for the Grantville Gazettes.
The worst offender I've ever seen is one I just read about a week ago: Heart Dance by Robin D. Owens (Berkley Sensation Paranormal Romance ebook July 2007). There are run-together words on almost every page (sometimes multiple per page), so I estimated 1,000+ total errors. This is CARELESSNESS—sloppy interfacing or conversion between document formats.
Since the Sony Reader site includes a Help section with a feedback mechanism, I have given them lists of typos several times. I am overdue to give them another set with this Owens mess-up.
When I see formatting screw-ups, I blame the publisher. Why I see typos in print, I also blame the publisher. The typos MAY have come from the author or may have been introduced during editing (I know it can happen), but a good copy-edit is a PUBLISHER'S RESPONSIBILITY. I view publishing is a team effort that is impossible without the creative writers creating the original texts, but most of those writers need proper support to create a clean finished product. All the support & cleanup after the writing should be done by the publisher.
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Joined: 22 Mar 2007
Posts: 1502
Posted: Tue May 27, 2008 11:06 pm
Post subject:
This is a list I've posted before. Just skip if you've seen it.
This is a list of "Oops" words (homonym/homophone errors, some not quite homophones, and some outright mindos) that I add to when I notice problems while reading. Most of the entries are from published books, though a few are from on-line discussions. I have added quoted context fragments of misuses for recent entries (since January 2005)—list additions before that were less systematic.
A lot / Allot
A lot / Alot (a non-word)
Abjure / Adjure "I have adjured [abjured] scandal"
Ad / Add
Admirably / Admiringly "gazed admirably [admiringly]"
Adverse / Averse "never adverse [averse] to" "not adverse [averse] to"
Advert / Avert "his face adverted [averted]"
Advice / Advise
Aerial / Arial
Affect / Effect
Affliction / Infliction
After / Before "but not after [before] causing"
Alight / Slight
All together / Altogether
Allude / Elude "what you eluded at [alluded to] in"
Alone / Along "take Fan alone [along]" "they were along [alone] again"
Alright / All right
Altitude / Attitude "Altitude [Attitude] control jets"
Among / In "among [in] the vastness of space"
Ancestors / Descendants "his ancestors [descendents] were expecting"
Anecdote / Antidote "anecdote [antidote] for"
Ape / Apt "an apt [ape] leader"
Arrant / Errant "arrant [errant] lock of blond hair"
Ascent / Assent "the exhilarating assent [ascent]"
Ascertain / Ensure "duty to ascertain [ensure] that"
Aspersion / Dispersion
Attach / Attack "one that you know I'd never attack [attach] myself"
Attendance / Attention
Aught / Ought
Avoid / Ovoid
Away / Way "stealing her breath way [away]" "it's giving away [way] there"
Baby / Mother "Emily's baby [mother]"
Back / Pack "I pushed pack [back]"
Back / Heck "at his fleeing heck [back]"
Bailer / Baler
Baited / Bated "with baited [bated] breath"
Ball / Bawl
Banter / Barter "barteringly [banteringly]"
Bare / Bear "couldn't bare [bear] it" "could bare [bear] his offspring"
Bases / Basis "covered her basis [bases]"
Bath / Bathe "bath [bathe] his forehead"
Beau / Bow "Beau [Bow] Street Runner"
Bed / Bend "rounded the bed [bend] of the stairs"
Bedeviled / Besotted "was too bedeviled [besotted] with the imp to care"
Beef / Beefy "a beef [beefy] fist"
Belie / Betray "was haphazard, belying [betraying] the lack of time and planning"
Belie / Imply "belying [implying] another sleepless night"
Bellow / Below "fallen bellow [below] what"
Between / In "between [in] her clenched cleft" "between [in] her deep cleavage"
Between / Through "The sun was just starting to slant between [through] the part in the heavy blue drapes."
Bile / Bilge "The familiar bilge [bile] in her stomach"
Black / Blank "blank-and-white [black-and-white] image"
Bliss / Blithe "the blithe [bliss] of the kiss"
Blue / Clue "the next blue [clue]"
Board / Broad "the board [broad] strategy"
Bolt hold / Bolt hole
Born / Borne "had born [borne] the change" "incomprehension was borne [born] of"
Boughs / Bows "in the bows [boughs]"
Brakes / Breaks "parking break [brake]" "hit the breaks [brakes]"
Braking / Breaking "breaking [braking] at a red light"
Breath / Breathe
Broach / Brook "broaching [brooking] no argument"
Brooch / Brook "would brooch [brook] no arguments"
Brook / Defy "to brook [defy] convention"
Bruit / Brute
Bushy / Busy "his busy [bushy] brows"
Busting / Bustling "busting [bustling] toward"
Buy / By "by [buy] it by"
Cache / Cachet "had a certain cache [cachet] herself" "cache [cachet] to being late"
Cache / Cash "emergency cashes [caches]"
Cackle / Crackle "She'd crackled [cackled] and whispered"
Cadging / Caging
Callous / Callused "calloused [callous] observer" "hand . . . callous [callused]"
Calumny / Perfidy
Canvas / Canvass "brown canvass [canvas]"
Carat / Caret / Carrot / Karat "three-karat [carat] diamond"
Cause / Cost "behavior that would cost [cause] her to lose her post."
Censor / Censure "having your behavior censored [censured]" "censured [censored] for"
Chafe / Chaff "he was chaffing [chafing]" "chaff [chafe] against"
Chaser / Spacer "disconnected the spacer [chaser]"
Check / Cheek "put his check [cheek]"
Chord / Cord
Circumspect / Suspect "there is nothing circumspect [suspect or suspicious] about"
Cite / Sight / Site "as erotic as the site [sight] of him" "landing sight [site]"
Clamber / Clamor "clamored [clambered] up" "clambered [clamored] in his ears"
Clear / Cleave "cleared [cleaved] her sentence"
Clench / Clinch "jaws clinch [clench]" "he clinched [clenched] his teeth"
Cloak / Clock "round-the-cloak [round-the-clock]"
Close / Closet "his bedroom close [closet]"
Clothes / Cloths
Coarse / Course
Coat / Cot
Collaborate / Corroborate "should attempt to corroborate [collaborate]"
Command / Commandeer "commandeering [commanding] the"
Comparable / Comparative "the comparable [comparative] ease of"
Complement / Compliment
Conceive / Perceive "couldn't perceive [conceive] of"
Concur / Demur "Francesca demurred [concurred]"
Conscientious / Contentious "was quite contentious [conscientious] in avoiding sweets"
Consume / Subsume "subsumed [consumed] by his heat"
Contagious / Contiguous
Continua / Continual "space-time continual [continua]"
Corner / Coroner
Council / Counsel "to council [counsel] me"
Countermand / Remand "remanding [countermanding] his order"
Courtesan / Courtier
Critic / Critique
Cue / Queue "slipped into the cue [queue]"
Cull / Trull "common cull [trull]"
Currant / Current
Daze / Gaze "her daze [gaze] darting toward"
Deceased / Diseased
Decent / Descent
Decibel / Frequency "into the highest decibels [frequencies]"
Decompose / Discompose
Deduce / Deduct "I deduct [deduce] that"
Defuse / Diffuse "diffused [defused] the situation" "diffusing [defusing] her anger"
Demur / Demure
Demure / ? "quick to demure [context requires obey; did author intend defer?]"
Denizens / Environs "into the lower denizens [environs]"
Descent / Dissent
Deuce / Deuced "deuce [deuced] uncomfortable"
Discreet / Discrete
Docilely / Dulcetly "followed her dulcetly [docilely]"
Dodge / Dog "who dodged [dogged] his every step"
Domino / Dynamo "a tiny domino [dynamo]"
Don / Dress "Donned [Dressed] in a"
Dose / Doze "dosed [dozed] off"
Dour / Dower "being more dower [dour]"
Draw / Drawer
Dual / Duel
Eaton / Eton
Elicit / Illicit
Elusive / Illusive "they were both illusive [elusive]"
Eminent / Immanent / Imminent
Eminently / Immanently / Imminently
Empire / Umpire "an empire [umpire] at the World Series"
Encounter / Endeavor "to encounter [endeavor] a waltz"
Enlighten / Illuminate "soon illuminate [enlighten] him"
Entangle / Untangle
Enviably / Enviously "enviously [enviably] thick eyelashes"
Epigram / Epithet "calls 'original' an epigram [epithet]"
Epitaph / Epithet "unladylike epitaph [epithet]"
Equinox / Solstice "spring solstice [equinox]"
Even / Ever "ever [even] more"
Ever / Never "How could he deny that his life would ever [never] be the same?"
Every / Very "Oh, every [very] funny!"
Evict / Vacate "had evicted [vacated] the shop window"
Except / Expect "he'd eaten all the fruit expect [except]"
Exceptionable / Exceptional
Exchange / Extend "extending [exchanging] bone-crushing handgrips with us"
Exhibitionistic / Voyeuristic [context described being watched, not watching]
Expose / Repose "it exposed [reposed] now"
Extricate / Intricate "extricate [intricate] lace"
Face / Fact "display her figure and her fact [face]"
Fair / Fare "how you fair [fare]" "would not fair [fare] well"
Faze / Phase "phased [fazed] her"
Feather / Fettle "in especially fine feather [fettle]"
Feel / Find "find [feel] it arrive"
Fell / Felt "His gaze felt [fell] to the exposed skin"
Fewer / Less
Fig / Fit "A fit for that [A fig for that]"
Find / Fine "the find [fine] tendrils of hair"
First / Last "first [last] in, first out"
Flair / Flare
Flash / Flush "flashed [flushed] dark"
Flaunt / Flout "rules . . . One flaunts [flouts] them"
Flounder / Founder "floundering [foundering] boat" "had floundered [foundered]"
For ever / Forever "forever [for ever] so long now"
Forbode / Forbore
Forth / Fourth
Fortuitous / Fortunate
Foul / Fowl
Fridge / Frigid "fridge [frigid] night air"
Frission / Frizzier
Fungible / Impressionable "He'd been fungible [impressionable], and absorbed every word"
Fuse / Fuss "Zhena Trelu'll fuse [fuss]"
Gait / Gate "the gait [gate] to the corral"
Gamble / Gambol "pups gambled [gamboled]"
Genteel / Gentile
Gild / Guild
Gloaming / Glomming
Grace / Graze "ever grazed [graced] anything"
Grass / Graze "could grass [graze] on"
Gravity / Levity "the levity [gravity/seriousness] it deserved"
Grisly / Grizzly
Gunnery / Gurney "on the gunnery [gurney]"
Hack / Track "oncoming track [hack]"
Had / Hand "in his had [hand]"
Hair / Hare / Heir
Hair / Head "on top of her hair [head]"
Half / Have "costs about have [half] that"
Hallow / Hollow "hallows [hollows] of his face"
Hank / Lank "a lank [hank] of dark blond hair"
Hard / Heard "having a heard [hard] enough time"
Haring off / Herring off
Harpoon / Lampoon "lampooning [harpooning] Constance with a steely glance"
Head / Heat "the head [heat] of passion"
Heap / Help "helped [heaped] his plate"
Hear / Here "Here, here [Hear, hear]"
Hence / Since "full month hence [since]" "gone . . . a year and a half hence [since]"
Henceforth / Hitherto "may he hitherto [henceforth] absent himself"
Heroin / Heroine
Hew / Hue "rosy hew [hue]"
Hoard / Horde "leader to the hoard [horde]" "managed to horde [hoard]"
Hole / Hold "in the hole [hold] of a ship"
Hole / Whole "tiny wholes [holes] in the lace" "the hole [whole] thing"
Home / Hone "hone [home] in on"
Honor / Horror "watch it in fascinated honor [horror]" "stared in honor [horror]"
Honorarium / Honorific
Horridly / Hurriedly "glanced horridly [hurriedly] about"
Hurdle / Hurl / Hurtle "hurdled [hurled] herself into the fog" "hurdling [hurling/hurtling] more bottles"
Idle / Idyll
Impeded / Impended
Imply / Infer "infer [imply] that you would" "What . . . are you inferring? [implying]"
Importunate / Importune "importune [importunate] male"
Importune / Opportune
In / Inn
Inclination / Indication "if he had any inclination [indication] of his effect"
Incredible / Incredulous "As incredulous [incredible] as it sounded"
Incredibly / Incredulously "asked incredibly [incredulously]"
Inflect / Inflict "inflect [inflict] upon"
Innovated / Innovative "the innovated [innovative] artist"
Integrate / Segregate
Intend / Tend "intend [tend] to inspire"
In to / Into "to give into [in to] your request" "carried it into [in to] her little boy"
Iron / Irony "the iron [irony] of fate"
Irresistible / Irresistibly "sparkling irresistible [irresistibly]"
Its / It's "without it's [its] warmth" "because its [it's] all"
Jarvey / Jarvis
Knob / Nob
Know / Known
Know / No
Label / Lapel
Laid / Lain "The others had long since laid [lain] down on"
Laid / Lay "She lay [laid] her head back" "lay [laid] her within" "she laid [lay] on her"
Lassitude / Latitude
Lavishing / Lavishly "lavishly [lavishing] love on you"
Lay / Lie "to make . . . lay [lie] awake" "that so much power should lay [lie] helpless"
Lea / Lee "the lea [lee] of a hillock"
Lead / Led "door that lead [led] to" "anything that lead [led]"
Least / Lest "least [lest] the prisoners"
Less / Lest "less [lest] he see"
Life / Wife
Lightening / Lightning "Lightening [Lightning] quick"
Lines / Lives "threatens the welfare and even the lines [lives]"
Liquefy / Liquidate "liquidated [liquefied] healing sand"
Literal / Literate "simple, literate [literal] mind"
Lo / Low
Loath / Loathe "found herself loathe [loath] to" "I am loathe [loath] to"
Loll / Lull "head lulled [lolled]"
Loop / Lope "loped [looped] the horse's reins"
Loose / Lose "I loose [lose] consciousness" "loose [lose] her temper"
Lose / Lost "want to lost [lose]"
Made / Maid
Magnanimous / Magnificent
Main / Mane "her main [mane] of glossy hair"
Manner / Manor "lady of the manner [manor]"
Marina / Marine "Inland from the marine [marina]"
Marred / Mired
Marshal / Martial "martialed [marshaled] composure"
Medicant / Mendicant "devices and mendicants [medicants/medications]"
Mere / Were "the were [mere] act"
Meso- / Mezzo- "Mezzo-America [Meso-America]"
Might / Night "another man night [might] reserve for"
Mind / Mine "mine-shields [mind-shields]"
Ministrations / Ruminations "started his ruminations [ministrations] again"
Minutes / Mutes "for the last 45 mutes [minutes]"
Mix / Nix "mixed [nixed] further investigation"
Mode / Modem
Mold / Mould
Moonlight / Moonshine "rays of moonshine [moonlight]"
Moral / Morale
Moral / Mortal "moral [mortal] animals"
Morbid / Morose "His curiosity was every bit as morose [morbid] as"
Muslim / Muslin
Muzzled / Nuzzled "he muzzled [nuzzled]"
Naval / Navel "to his naval [navel]"
No / Not
Notations / Notions
One / Once "one [once] pirate craft"
One / Won
Our / Out "Turns our [out] your mom"
Oust / Out "to oust [out] women who"
Pained / Pined "her heart pained [pined] for him"
Palate / Pallet
Palatable / Palpable "palatable [palpable] in the room's chilled air"
Palpate / Palpitate
Paramount / Tantamount "His reaction was paramount [tantamount] to that of"
Parish / Perish
Passed / Past "now that she'd past [passed] her twenty-first birthday" "She moved passed [past]"
Passed / Paused "she passed [paused] for breath"
Pat / Put "put [pat] her rump"
Paw / Pawn "pawn [paw] them"
Peak / Peek / Pique "curiosity peaked [piqued]" "to peak [peek] into"
Peal / Pearl "inlaid peals [pearls]"
Pec / Peck "amazing pecks [pecs/pectorals]"
Pedal / Peddle "Put the peddle [pedal]"
Peremptory / Preemptory
Perjuring / Purging
Placard / Placket
Place / Plate "rice onto a place [plate]" "Picking up her place [plate]"
Plate / Tee "stepped up to the tee [plate]"
Played / Prayed
Pore / Pour "poured [pored] over every word" "pouring [poring] over a book"
Pray / Prey "would pray [prey] upon her"
Precede / Proceed
Pretense / Pretension "made no pretension [pretense] about his dislike"
Principal / Principle
Profligate / Proliferate "his proliferate, [profligate] spendthrift"
Propensity / Propinquity
Properly / Property "be property [properly] understood"
Properties / Proprieties "his eye fixed to the properties [proprieties]"
Proximity / Vicinity "vicinity [proximity] to the beach"
Puzzled / Puzzling "gave him a puzzling [puzzled] look"
Quay / Queue
Questionably / Questioningly "look questionably [questioningly]"
Quiet / Quit "quit [quiet], mousy"
Raced / Reached "raced [reached] their destination"
Rack / Rock "rack [rock] face of the cliff"
Rack / Wrack "rack [wrack] and ruin" "wracking [racking] her brain"
Rampant / Rampart "lions rampart [rampant]"
Ranging / Rangy "tall, ranging [rangy] man"
Rap / Wrap "he wrapped [rapped] lightly on the ceiling"
Raise / Rase "rasing [raising] her sheets"
Raucous / Ruckus "causing such a raucous [ruckus] in"
Ravages / Vestiges
Reek / Wreak "reek [wreak] . . . havoc"
Refrain / Restrain "wisely restrained [refrained] from saying"
Regime / Regimen "regime [regimen] of"
Reign / Rein "reign [rein] in her temper" "take up the reigns [reins]"
Relieve / Relive "will not relieve [relive] what was"
Rend / Rent "Tears from his daughter managed to rent [rend] his heart"
Repairs / Reparations
Respectful / Respective
Refrain / Restrain "to restrain [refrain] from"
Retch / Wretch "fall to her knees and wretch [retch]"
Retched / Wretched "while he wretched [retched]"
Retinue / Revenue "yearly retinue [revenue]"
Revered / Reverent "says in a revered [reverent] whisper"
Rife / Rift "rift [rife] with emotions"
Right / Rite "allowed equal rites [rights]"
Right / Tight "had a tight [right] to her insanity"
Right / Write
Ring / Wring "ringing [wringing] a woman's neck"
Ringer / Wringer
Riverbank / Riverbed "threw it on the riverbed [riverbank]"
Road / Rode "he road [rode]"
Roast / Roost "rules the roast [roost]"
Rogue / Rouge "rakes and rouges [rogues]"
Role / Roll "into the roll [role] of" "the parish roles [rolls]"
Sad / Said
Salon / Saloon
Sanction / Sanctuary "retreated to seek sanction [sanctuary] in"
Sat / Set "She sat [set] it down"
Saw / So "but so [saw] no sign"
Scabbard / Scaffold "attached his scaffold [scabbard] to his belt"
Scene / Scent "the scene [scent] became easier and easier to follow"
Scene / Seen
Score / Scour "she scoured [scored] his back with her nails"
Seat / Set "splendid set [seat]"
Secret / Secrete "would not secret [secrete] himself" "secrets [secretes] himself away"
Seeded / Seedy "seeded [seedy] flat"
Set / Sot "smug and sot [set] in their ways"
Sew / Sow
Sewn / Sown
Sextant / Sexton "a brass sexton [sextant]"
Shelf / Shelve "temporarily shelf [shelve]"
Shift / Shrift
Shone / Shown "stars shown [shone] clearly"
Show / Snow "swirling show [snow]"
Shudders / Shutters "wooden shudders [shutters] at the window"
Silicon / Silicone "silicon [silicone] implants"
Sink / Slink "to slink [sink] beneath the table"
Sinned / Sinners "sinned [sinners] being cast"
Skew / Skewer "skewed [skewered] by a rhino" "skewered [skewed] her head around"
Skulking / Sulking
Snick / Snicker "the lock snickered [snicked]"
Snob / Snub
Sole / Soul
Son / Sun "son [sun] grows cold"
Sparing / Sparring "weakened sparing [sparring] partners"
Spin / Spine "down her spin [spine]"
Splurge / Surge
Spread / Strewn "She had been strewn [spread] out"
Spring / Sprig
Squabs / Squibs "flopped against the squibs [squabs]"
Staid / Stayed
Stain / Strain "bandages strained [stained]—soaked—with blood"
Stare / Start "started [stared] at the ceiling"
Stationary / Stationery
Stead / Steed "my stead [steed] will soar"
Steal / Steel "Stealing [Steeling] myself"
Step / Stop "her duty to stop [step] up and act"
Straightened / Straitened "straightened [straitened] financial circumstances"
Straights / Straits "financial straights [straits]"
Stricture [not a verb] her / Censure her?
Striped / Stripped "a stripped [striped] green waistcoat"
Sufferance / Suffering "such sufferance [suffering] to yourself"
Suggest / Suspect "strongly suggested [suspected]"
Sum / Sun "a farthing to the sun [sum]"
Switch / Watch "The glare watched [switched] to me"
Swore / Sworn
Table / Towel "in nothing but a table [towel]"
Tack / Tact
Tail / Tale "bushy tale [tail]"
Taught / Taut "taught [taut] and muscular"
Temerity / Timidity "temerity [timidity] and reserve"
Tenant / Tenet
Than / Then "I am more then [than]"
The / Them "all over them [the] place"
Their / There / They're "there [their] continuity"
Thing / Think "only reasonable think [thing] to do" "another thing [think] coming"
Thou / Though "Thus wouldst though [thou]"
Threw / Through "blew it out threw [through]" "burst threw [through] the door"
Thrice / Trice "in a thrice [trice]"
Throes / Throws
Throne / Thrown
Thrust / Trust "trusting [thrusting] her breasts outward"
Tinkling / Twinkling "twinkling [tinkling] of music"
Tipped / Tippled "Her head tippled [tipped] back"
To / Too / Two "all to [too] well"
To / With "sharing . . . to [with] anyone"
Toe / Tow
Tombs / Tomes
Tortuous / Torturous "tortuous [torturous] two weeks"
Treacher / Trencher
Tread / Trod "could trod [tread]"
Truck / Trunk "against the tree truck [trunk]" "in the truck [trunk] of Clare's car"
Tune / Turn "voice tuning [turning] husky" "He tuned [turned] sharply"
Undo / Undue "attracting undo [undue] attention" "an undo [undue] reaction" "to undue [undo] the mistakes"
Unexpected / Unsuspecting "The impact stung, as did the unsuspecting [unexpected] action."
Urban / Urbane "the nonchalant, urban [urbane] rake"
Vaulted / Vaunted "vaulted [vaunted] logic was"
Veiled / Veined "thinly veined [veiled] satisfaction"
Verses / Versus "sang the other versus [verses]"
Vice / Vise "a velvet vice [vise]"
Vice / Visa "visa [vice] versa"
Violation / Volition "of its own violation [volition]"
Wage / Wager "wager [wage] solitary war"
Waive / Wave
Waiver / Waver "start to waiver [waver]"
Weak / Week
Wench / Winch "the box meant to wench [winch] goods up"
Wending / Winding
Went / When "groaned went [when] he"
Wet / Whet
Whereas / Wherein "but wherein [whereas] he expected a confrontation"
Whig / Wig
Whine / Wine "the puppy wined [whined]"
Whit / Wit "one wit [whit]"
Who / Whom
Who's / Whose "who's [whose] head" "Now whose [who's] equating"
Winced / Winched "He winched [winced] when"
Winded / Wound "the peaking winded [wound] down"
Worse / Worst "to do her worse [worst]" "the worse [worst] thing"
Worth / Worthy
Wreak / Wreck "wrecked [wreaked] havoc"
Yoke / Yokel "thick-set yoke [yokel]"
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Joined: 22 Mar 2007
Posts: 314
Posted: Wed May 28, 2008 12:03 am
Post subject:
KayWebbHarrison wrote:
One punctuation lapse that muddles the flow of the story for me is missing or additional quotation marks. Sometimes it is almost impossible to make sense of who is saying what. Kay
This drives me crazy too, largely because it stops my reading. Grammar is so important to ensuring the flow of the story is correct. Other errors I tend to trip over are apostrophes in the wrong place and dangling prepositions. The better the book is the less I notice copy-editing problems. But I totally agree with Mark that good copyediting is the publishers responsibility!
There are books thought that are too long, or spend too much time on subplots, or have dangling plot points, or make factual errors. All these problems and many more can be fixed in the editing process but whether in these degenerate days
these are the responsibilities of publishers anymore I don't know? And how many of the books we think are good are good
of the collaboration between the author and the editor.
The closest I have ever come to writing to the publisher about a book was Brockmann's "Breaking Point" where East Timor was described as being part of Indonesia (which hadn't been true for several years) and in a state of civil war (the unrest there didn't occur until several years later). That really annoyed me.
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Joined: 22 Mar 2007
Posts: 1502
Posted: Wed May 28, 2008 12:50 am
Post subject:
Aside from the "oops" list I already posted, there are a few grammatical problems that I notice often.
Use of the wrong pronoun has already been mentioned and I do see that fairly often. Any time you see "X and I did" or "happened to X and me", just remove the "X and" part of the phrase to see if the correct pronoun was used.
I also see a fair number of the extra and missing quote marks and apostrophes already mentioned.
I see a LOT of lie/lay vs. lay/laid errors. Lay/laid takes an object, lie/lay doesn't.
Another one I see often enough to list as a special irritant is "grit" used as past tense. "She grit her teeth" instead of "She gritted her teeth". I see this often enough to suspect that some publishing houses think it is correct usage.
I also see "between" used too often with singular nouns.
Failure to keep singular & plural nouns & verbs in agreement is also fairly common, especially with long sentences.
I also see a lot of improper conjugation of verbs (using the wrong form). Example from a recent read: "I'd drank" should be either "I drank" or "I'd drunk".
Extra words and missing words are also fairly common.
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Joined: 02 Dec 2007
Posts: 2064
Posted: Wed May 28, 2008 5:45 am
Post subject:
Editing matters a lot to me. Mistakes in spelling, punctuation, and grammar are irritating (particularly when it comes to putting in the subjective when it should be the objective or when there's disagreement between the noun and pronoun). They don't irritate me enough to stop reading, though, if the story is good, because I know how hard it is to get rid of them. To quote Eric Flint in regard to a too-late-found typo in a Baen book, "The damned things are like cockroaches."
One of my constant sources of bewilderment is that when it comes to the objects of prepositions, almost no one makes mistakes with plural pronouns. I've never seen a case of "with we" instead of "with us." They don't do it with individual single pronoun. I've never seen a case of "with he" rather than "with him." But when authors double up on single pronouns, then there's an epidemic of "with he and I" instead of "with him and me" and parallel constructions.
Mistakes in regard to homonyms are becoming more and more prevalent. I'm tempted to ascribe a lot of those to the use of spell check without adequate thought on the matter.
I'm more irritated by continuity errors, though. I think Revelations is one of Janice Kay Johnson's best books -- honestly, by which I mean that I've probably read it twenty times. But I have two copies. One is clean. The other is marked up with a purple fine-point pen on such matters as how many married sisters the hero has, because it fluctuates from one reference to another. The same is true of references to how old he and his ex-wife were when they married, and how old their children were when they divorced. What's more, none of these references are crucial to the plot -- they are just throwaway sentences here and there.
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Joined: 22 Mar 2007
Posts: 4228
Location: Detroit Metro
Posted: Wed May 28, 2008 6:55 am
Post subject:
As with the many others who stated here, I also don't enjoy seeing a sloppily-written book. On the other hand, I understand that
some things slip through the cracks. I still rely a lot on my own personal visual proof of anything I've written; but, at the same time, realize that spellcheck and other such conveniences have literally taken over the editing field. Most of the time they work very well, but not always.
Now having said all that, if the book is
enough and, for the most part, is written fairly well, I can pass over the
errors that may occur. I don't like them, but they won't kick me out of the story. In fact, I congratulate myself that I'm still capable of recognizing a word misspelled or a word used incorrectly. It's something similar to those tests where you had to identify the sentence that contained incorrectly-used or misspelled words. Keeps you on your toes!
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Joined: 17 Feb 2008
Posts: 841
Posted: Wed May 28, 2008 7:35 am
Post subject:
Yes, it irritates me to see errors, especially when there are multiple errors in a book. One or two typos/misspellings might be considered almost inevitable, and in older books that were set in lead type you sometimes find "corrections" where the wrong line of type was replaced.
I do think that the number of mistakes per book is increasing, especially of the misused pronoun or wrong word variety. These are the errors spellcheck won't catch, and many publishers are saving money by cutting back on or even eliminating copyediting/proofreading. And it is probably a cost-effective cutback. Publishers may make money on Romance novels, but they probably don't make all that much per individual title, especially considering the short shelf-life so many have. And even readers who care about correct pronoun usage are unlikely to boycott a favorite author because the publisher is a pinch-penny.
I know I'm not.
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Joined: 27 Mar 2007
Posts: 1104
Posted: Wed May 28, 2008 8:29 am
Post subject: Re: How Much Does Editing Matter to You
Anne Marble wrote:
How much does editing matter to you? In particular, do you notice typos, etc. (There are multiple levels of editing, but usually, when people talk about editing problems, they mean copyediting or proofreading issues.) Have you ever contacted a publisher about problems you encountered?
How much does editing matter to me? A LOT!!! Yes, I've definitely noticed a lack of editing in many of the books I've read in the last 5 or so years. Spelling errors, grammar errors, misuse of punctuation -- it drives me nuts. I realize that no editor is going to catch everything, so I don't mind the occasional typo. But many of the books I've read recently have featured more than the occasional typo. And some authors are worse than others -- LKH is THE WORST! Seriously...do her editors simply not care? Do they, and LKH herself, simply have no pride in their finished product?
As a reader it makes me mad because books are professional products, or they should be. If I'm forking over my money, then I don't think it's unreasonable to expect books to be professionally edited and as error-free as possible with respect to the technical aspects of writing. As a former English major, the abundance of errors in published books irritates me because I don't think we should be writing to the lowest common denominator. You know how they say that if you build it, they will come? Well, I think writing is similar. If people are regularly exposed to "correct" speech or writing, they're going to pick a lot up through "osmosis." When I was a kid, I learned a lot about grammar and spelling and punctuation simply from reading. Even today, when I'm unsure about how to spell or punctuate something, I write it down because then the VISUAL helps me figure out the correct way to write or spell something, and I know this is something that has been reinforced in me over years of reading, of SEEING words in print in my books. In our IM and text-message culture, I think we owe it to our population to provide well-written published books. At least they way they may get a balance.
I have never contacted a publisher but I have seriously thought of red-marking a poorly-edited book and sending it back to the publisher. As for giving up on an author.... Well, that depends on how egregious the errors are and how consistently they appear in that author's books.
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Joined: 22 Mar 2007
Posts: 6635
Location: minneapolis
Posted: Wed May 28, 2008 8:36 am
Post subject:
Tee wrote:
As with the many others who stated here, I also don't enjoy seeing a sloppily-written book. On the other hand, I understand that
some things slip through the cracks. I still rely a lot on my own personal visual proof of anything I've written; but, at the same time, realize that spellcheck and other such conveniences have literally taken over the editing field. Most of the time they work very well, but not always.
Now having said all that, if the book is
enough and, for the most part, is written fairly well, I can pass over the
errors that may occur. I don't like them, but they won't kick me out of the story. In fact, I congratulate myself that I'm still capable of recognizing a word misspelled or a word used incorrectly. It's something similar to those tests where you had to identify the sentence that contained incorrectly-used or misspelled words. Keeps you on your toes!
Yes, me too Tee, although it rips me right out of the book for a moment and I guess for just a few seconds, I resent it very much, but I get over it. Actually, I've seen errors in all genres, not just romance novels.
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Joined: 22 Mar 2007
Posts: 2733
Posted: Wed May 28, 2008 9:21 am
Post subject:
Poor copy editing still irritates, but it's so endemic to all kinds of printed material anymore that I silently emend and read on. Sometimes I get a good chuckle from misplaced modifiers which create an unintended meaning, but for the most part, I'm inured to most of the errors. But I think authors must share the blame, especially when the error is a confusion of close spellings or close meanings or close sounds--e.g. adverse for averse.
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Joined: 27 Mar 2007
Posts: 1104
Posted: Wed May 28, 2008 9:46 am
Post subject:
dick wrote:
Sometimes I get a good chuckle from misplaced modifiers which create an unintended meaning,
There's a cell phone commercial airing in the US right now that makes me think of your statement above, Dick. In the commercial, you've got a father who is up at Lover's Lane, knocking on all the windows of the parked cars as he looks for his daughter. The "punchline" of the commercial is that the next day, the missing daughter is going to be "known as the girl with the uptight father who no one wants to date." Or something like that. (I can't remember the exact wording.) They totally misplaced the modifier, and the way it's written, it suggests that no one is going to want to date the girl's father, when we know that what they're trying to say is that no one is going to want to date the girl BECAUSE of her father.
I have to roll my eyes everytime I see/hear the commercial.
ETA: I hunted the internet and found the exact wording. The commercial narrator tells the girl (who is off-screen the entire time): "you'll be the girl with the crazy father who no one wants to date. ..." And why would anyone want to date the girl's crazy father??
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Joined: 23 Mar 2007
Posts: 1044
Location: Washington DC
Posted: Wed May 28, 2008 10:14 am
Post subject: Re: How Much Does Editing Matter to You
Niftybergin wrote:
How much does editing matter to me? A LOT!!! Yes, I've definitely noticed a lack of editing in many of the books I've read in the last 5 or so years. Spelling errors, grammar errors, misuse of punctuation -- it drives me nuts. I realize that no editor is going to catch everything, so I don't mind the occasional typo. But many of the books I've read recently have featured more than the occasional typo. And some authors are worse than others -- LKH is THE WORST! Seriously...do her editors simply not care? Do they, and LKH herself, simply have no pride in their finished product?
As a reader it makes me mad because books are professional products, or they should be. If I'm forking over my money, then I don't think it's unreasonable to expect books to be professionally edited and as error-free as possible with respect to the technical aspects of writing. As a former English major, the abundance of errors in published books irritates me because I don't think we should be writing to the lowest common denominator. You know how they say that if you build it, they will come? Well, I think writing is similar. If people are regularly exposed to "correct" speech or writing, they're going to pick a lot up through "osmosis." When I was a kid, I learned a lot about grammar and spelling and punctuation simply from reading. Even today, when I'm unsure about how to spell or punctuate something, I write it down because then the VISUAL helps me figure out the correct way to write or spell something, and I know this is something that has been reinforced in me over years of reading, of SEEING words in print in my books. In our IM and text-message culture, I think we owe it to our population to provide well-written published books. At least they way they may get a balance.
I have never contacted a publisher but I have seriously thought of red-marking a poorly-edited book and sending it back to the publisher. As for giving up on an author.... Well, that depends on how egregious the errors are and how consistently they appear in that author's books.
I'm nodding my head vigorously in agreement with everything you say. I'm convinced that we're seeing the inevitable results of lowered education standards in the USA. In my high school
English classes, we were required to learn the rules and grammar and punctuation. When my daughter (she's 30) came through high school there were no such requirements; in fact her school never even issued a grammar textbook. I bought her one and hammered it into her head. Since she had been exposed to nothing less than correct speech at home, it wasn't as much of a problem for her as it was for those who weren't, not to mention those for whom English is not their first language. And don't get me started on the shoddy shortcuts used in text messaging or "cute" spelling used in advertising.
So many books are infested with errors -- and I say it's too forgiving to call them typos -- that what were seeing is that many, many authors and editors
simply don't know that they're making mistakes.
That says it all about their education. Call me crazy, but I think it's just flat
when someone can succeed as a professional writer or editor without achieving basic literacy.
A wise woman once told me that correct speech and the ability to express yourself coherently is a quick intelligence test in the way a prospective employer may judge you. I think that applies to everyone you meet.
Edited to add: The pollution is just as bad in newspapers, including the venerable Washington Post I read every day, and virtually all mass media. It's my observation that it's the work of younger puppy writers and reporters. It's hard to believe that The Post has no experienced editors to clean up after them.
Last edited by Diana on Wed May 28, 2008 10:42 am; edited 1 time in total
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Joined: 28 Mar 2007
Posts: 341
Posted: Wed May 28, 2008 10:37 am
Post subject:
Editing is very important to me as well, though a few typos won't stop me from enjoying the book or buying another one from that author/publisher.
I notice typos and if they're of the type that Mark listed, it wrenches me out of the story and I have to mentally replace the words. It's the same with bad punctuation - a run-on sentence or a sentence that should have a semi-colon in it but instead has only a comma will make me stop and mentally revise it.
However, I actually find novels to be better than other print media - especially newspapers and magazines, where (I guess) deadlines are very tight and editing is minimal. I see so many errors and bad writing that it's hard for me to accept - in fact, it's stopped me from reading articles because the bad grammar/editing makes me suspicious of the author's credentials.
If they can't even write correctly when that's their job, why should I trust in what they have to say? And sometimes it's so bad that I can't TELL what they're trying to say. That's what I see as the real problem. A typo or misplaced comma might take me out of a story or article for a second, but that's fine. It's when I have a hard time figuring out the point being communicated that I really lose respect for the author/editor/source.
People don't seem to realize that when you don't pay attention to HOW you say something, the risk increases greatly that your audience won't get WHAT you're trying to say.
Umm, that turned into a rant, sorry. My main point is that in romances I haven't noticed many errors that are so bad they'd turn me off the author/publisher - then again, I stick with tried and true authors for the most part.
Favourite Authors:
Marian Devon Joan Smith
Loretta Chase Jo Beverley
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