copyediting narrative non-fiction:hardcopy edit and editorial overview

copyediting narrative non-fiction:hardcopy edit (1000words) and editorial overview (250 words)Overview and scan of editorial mark-up to be submitted AS HARD COPIES ONLY to be submitted.Copyedit the 1000-word non-fiction extract provided using standard industry mark-up symbols and working in pencil on hard copy. You should follow the house style specified in the accompanying editorial brief and compile a style sheet and author queries. In your edit, you will be expected to identify spelling, punctuation and grammatical errors; query problems of style and expression; consider the organisation of the material; do any fact-checking required; identify any copyright/permission issues; and balance mechanical editing requirements with a respect for the author’s voice and intentions.Depending on how you approach the text, your accompanying 250-word editorial overview might include a discussion of the author’s voice and how it affected your editorial decisions, identify recurrent grammatical or stylistic problems and note how you dealt with them, identify content issues, outline house style requirements or copyright permissions, point out need for consistency, etc.Use a standard font, 12-point type and double spacing.Copyediting fiction – marking criteriaMark-up skillsUses mark-up symbols correctly; clear, legible mark-up; clean presentation; works in pencil on hard copyTechnical editingCorrects errors of syntax, grammar, spelling and punctuation in the original text; queries problems of style and expression; considers organisation of material; carries out any fact-checking required; identifies any copyright/permission issues; applies Australian style consistently; applies specified house style consistently; does not introduce new errors into textEditorial approachEvidence of intelligent, considered editing; shows sensitivity towards author’s intentions; achieves balance between correcting errors and maintaining author’s voiceStyle sheetFollows house style; comprehensive, relevant word list; shows understanding of function of style sheetAuthor queriesComprehensive, relevant query list; consistent querying system; queries expressed clearly, concisely and politelyEditorial overviewProvides thorough and clearly expressed overview of editorial approach; uses correct syntax, grammar, punctuation and spelling; meets word countPresentationFollows formatting requirements; meets deadline
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Alpha and Papa teams bolt out of the vehicle bay next to the café. Two men from
Papa team run to the closest window along Rundle Mall, attempting to break the
glass with a breaching weapon so they can toss in a stun grenade. The glass holds
firm so they run to join Alpha team, now breaking through the front entrance. Officer
A is sticking close behind the shield man, Alpha 2.
Officer A has his gun over Alpha 2’s shoulder, seeking out the target. The light
source on his helmet picks Sammy out from the gloom almost instantly. Officer A
can’t see any hostages, but he sees Sammy is looking straight back, shotgun
pointed directly at him.
“There’s the cunt! There’s the cunt! “ Alpha 2 shouts. “Shoot him! ” Sammy fires but
Officer A has already locked on to the target. He aims at the gunman’s upper chest,
fires and then keeps firing as he moves up to Sammy’ head. Sammy is slowly
buckling, but hasn’t released the shotgun.
Officer A keeps shooting, his trigger finger unleashing 17 bullets in the space of a
few seconds. The café reverberates with the onslaught, not just the roar of the
gunfire but the sound of the stun grenades being hurled through the doors by other
members of the TOU team.
Officer B, part of Alpha team, fires off 5 bullets. But he’s been hit on the cheek and
falls onto the floor. “Get back up”, Alpha 2 yells at him. Officer B is “ shitting himself”
but takes cover and gets back up.
Officer A is trying to be heard above the noise of the stun grenades, but they are still
flying into the café. That’s enough, he shouts. “The terrorist is down” he yells, over
and over, until he is hoarse.
The shooting is over by the time Charlie team manages to storm through the lobby
doors. The teams have not achieved simultaneous entry. Later the police and
families will argue over whether that delayed entry by the second team could have
materially affected the outcome. Either way, its almost certain that by the time
Charlie team gains entry, Sammy is already dead.
BREAK
The police entry plunges the five remaining hostages – Susan, Sheila, Bella, Karen
and Alice – into the middle of a maelstrom. Blinding light suddenly obliterates the
darkness, while the sound generated by the SF 9 stun grenades, the “stunnies”, is
staggering.
Purposefully designed to disorientate, each stun grenade sets off 9 seperate
explosions. To the hostages’ ears, it sounds as if an entire army is coming through
the door.
Susan has the sensation of being caught up in something like a catastrophic car
accident: “There is shrapnel coming up from everywhere, everything seems to
happen in a split second, all the bits are flying everywhere” she says. “ I wanted to
shout out “stop, stop” but I didn’t because I thought Sammy mustn’t be dead yet,
otherwise why would they keep going? They can’t still be shooting up for no reason!”
“ I’ve was on the ground again, flush with the bench under the windows. I’d covered
my eyes with my hands and it just kept going and going, and I thought to myself ‘well
I’ve survived this whole day but you’re gonna die here and you might as well watch’
so I dropped my hands.”
“Then I felt this piercing pain in my foot and I was aware that the straps of my
favorite red sandals were missing; part of me was thinking ‘how am I going to get
those repaired?” while the other half is registering the pain nd then the whole thing
finally stopped. One of the tactical guys was suddenly on top of me saying ‘you’re
safe, you’re safe’ and I’m thinking, not so safe, really. But I’m aware that I’m still alive
– and that Brett, that beautiful young man, was dead.”
Karen is lying on the floor in a state of shock near the kitchen. She has been braced
for Sammy coming back to find her ever since the other hostages fled. And then she
hears and sees “ shit shattering everywhere. I’m thinking, ‘Please kill him, please kill
him’. There was so much light and banging. There was screaming from outside. It felt
like ages.”
. The sound and fury comes to an end. Their torches penetrating the gloom, Officer
A and Alpha move to where the body of Sammy lies sprawled. A large portion of his
head has been shot away, blood pooling on the floor. Unquestionably, the attacker is
dead.
One of them tells Susan she has to leave immediately.
“ Can you walk?” No, she says, telling them that she is wounded in the foot but that
she can hop. Her stomach has taken shrapnel as well but she doesn’t feel that yet.
She starts hopping towards the door, but the two officers lift her bodily and out onto
the street.
She has lost track of Karen, and Bella , and her mother, Sheila. She does not know
that Alice is lying mortally wounded in the furthest nook of the café. “Get some some
fucking medics, we need some fucking medics in here, now.” Alpha 2 yells.
[BREAK]
Later, a year later, Susan would finally discover why Brett had never got up from the
bench where he was sitting with Sheila.
“It was close to the first anniversary after the siege” she recalls. “ We hadn’t really
talked about the events in the café much, if it came on the news we would talk about
it in the abstract, not in a personal way. And on that particular day I had a chance
put it to her: did you not see me go to run out? Yes, she said, and then I said, ‘why
didn’t you and Brett run with me?’
“And Sheila replied that she told Brett ‘you go, you go,” that she was elbowing him,
and he said, ‘No, I will stay’”.
“Brett made a choice” says Susan. “Brett had the opportunity to run, without a doubt.
He chose to stay with Sheila and he was assassinated. If that’s not sacrificial love, I
don’t know what is.”

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