Writing post today. As usual, leave it, or take it with a good dose of NaCl and humour.
Sometimes, you can hear people cry out: ‘but surely magazines don’t reject a story because it has a few typos!’
Well–uhm–no, they don’t. And yes, they do.
First: define ‘typo’.
‘Tyop’ is a typo; ‘amking’ (making) is a typo. This is one of my bugbears, by the way. ‘Frpm’ is a typo.
‘Then’ instead of ‘than’ is not a typo. ‘Your’ instead of ‘you’re’ is not a typo, and neither is ‘affect’ when it should be ‘effect’.
A typo is something the fingers did that the brain didn’t intend the fingers to do. It is clearly an accident. The second lot of ‘typos’ are lazy-arse excuses for writers’ poor grammar skills. Guess which are likely to get you rejected?
Genuine typos tend to be one-off occasions in an otherwise clean document. Excuses for typos tend to breed in dark corners. If there is one, there are almost certainly more. There are exceptions, of course, and some stories are good enough to excuse a very low level of this kind of poor English. One thing you should remember about exceptions, and that is that they as a rule never, ever apply to you.
Mostly, excuses-for-typos tend to be symptomatic for other style problems, such as chronic over-writing, word repetitions, trying-too-hard writing or flat writing. They are never the sole reason that a story gets rejected, because they rarely happen in isolation.
In other words, if you have grammar and style bugbears, catch them, squash them or shoot them and incinerate them. Your grammar skills are like the screwdriver in a tool kit: you can use it to fix things, lever things off, or bash things, but you don’t notice it until it’s missing and then you can’t do the job.
Motto of the day: don’t leave home without a screwdriver.