copy-editor

name	copy-editor
description	Performs line-level prose editing — pruning adverbs, activating voice, cutting redundancy, and enforcing parallel structure for concision and readability. Use when revising any written content, even if the request is just 'make this better,' 'tighten this up,' or 'clean up the writing.'
license	MIT
compatibility	Claude Code and compatible agent products
metadata	{"type":"domain","family":"rhetorician","rigor":"standard","keywords":"editing, prose-quality, line-editing, copyediting, readability, clarity","requires":"","enhances":"non-fiction-precision, resonance-engine, memo-stress-tester","sources_pdf":"The Elements of Style (Strunk), Draft No. 4 (McPhee), Bird by Bird (Lamott)","sources_web":"Hemingway App methodology"}

Overview

Copy-editing is the tactical refinement of prose at the sentence level. It transforms a "Shitty First Draft" into vigorous, clear communication by pruning adverbs, activating the voice, and expunging fad words. The goal is to ensure that every word "tells" and that the reader never stumbles over convoluted logic or unnecessary complexity.

Guiding Principles

Principle 1: The "Dental Draft" (Source: Lamott, Bird by Bird)

Treat editing as a process of checking every tooth. Once the "Down Draft" (getting thoughts on paper) is complete, perform a meticulous "Dental Draft" to see if each sentence is loose, cramped, or healthy.

Principle 2: Omit Needless Words (Source: Strunk, The Elements of Style)

Vigorous writing is concise. If a word does not add meaning, cut it. Eliminate qualifiers (e.g., "very," "rather," "basically") and "verbal false limbs" (e.g., "the fact that," "in order to").

Principle 3: Use the Active Voice (Source: Strunk, The Elements of Style)

The active voice is more direct and forceful. Replace passive constructions ("The report was written by him") with active ones ("He wrote the report"). This usually results in shorter, stronger sentences.

Principle 4: Expunge Fad Words (Source: McPhee, Draft No. 4)

Mercilessly go after "fad words" that have lost their meaning through overusage (e.g., "pivot," "proactive," "iconic," "reach out"). Replace them with specific, accurate English.

Principle 5: Kill the Adverb (Source: Hemingway App / Lamott)

Adverbs are often a sign of weak verbs. Instead of "he ran quickly," use "he sprinted." Use blue highlights (figuratively or literally) to identify adverbs and replace them with stronger verbs or nouns.

When to Use This Skill

• Refining a finished draft for publication or executive review.
• Improving the readability of complex technical documentation.
• Pruning wordy or "fluffy" marketing copy.
• Shortening a document to fit a specific length or page count.

When NOT to Use This Skill

• During the "Shitty First Draft" phase (where self-correction kills flow).
• When writing dialogue or first-person memoirs where a specific, potentially "imperfect" voice is the goal.

Core Process

Step 1: The "Down Draft" Acceptance (Source: Lamott, Bird by Bird)

Acknowledge that your first draft is supposed to be bad. Do not edit while writing. Get everything on the page through your "one-inch picture frame."

Step 2: The Strunkian Pruning (Source: Strunk, The Elements of Style)

Review the draft specifically for:

1. Active Voice: Subject -> Verb -> Object.
2. Positive Form: Describe what is, not what isn't.
3. Parallelism: Express coordinate ideas in similar form.

Step 3: The Hemingway Audit (Source: Hemingway App methodology)

Identify and fix readability "Red Flags":

1. Yellow/Red Sentences: Split sentences that are too long or contain more than two clauses.
2. Purple Words: Replace complex vocabulary with everyday English.
3. Blue Adverbs: Delete them or upgrade the verb.

Step 4: The McPhee "All" Check (Source: McPhee, Draft No. 4)

Scan for repetition. If a unique or "expensive" word (e.g., "horripilation") is used once, it adds flavor; if used twice, it becomes a mannerism. Check for overused transitions like "but" or "however."

Step 5: The "Read Aloud" Final (Source: Lamott / Strunk)

Read the entire piece aloud. Your ear will catch the "mechanical symmetry" and clunky rhythms that your eye misses. If you run out of breath before finishing a sentence, it is too long.

Frameworks & Models

The Three Drafts (Source: Lamott, Bird by Bird)

1. The Down Draft: Getting it all down (Child's draft).
2. The Up Draft: Fixing it up (Grown-up draft).
3. The Dental Draft: Checking every tooth (Editor's draft).

The Hemingway Readability Grade

• Aim for Grade 9 or below: Most professional writing should be readable by a 9th-grader.
• Complex sentences (Red): Logic is meandering; must be broken apart.
• Hard to read (Yellow): Sentence is too dense; needs shortening.

Cross-Skill Invocations

REQUIRED SUB-SKILL: None. RECOMMENDED SUB-SKILL: non-fiction-precision — to ensure the structure is sound before fixing the sentences.

Common Mistakes

1. Over-editing too early: Trying to make the first sentence perfect and never finishing the paragraph. (Source: Lamott)
2. The "Forceful" vs "Forcible" Trap: Using the wrong word because it sounds more "sophisticated." (Source: Strunk)
3. Mannerisms: Falling into a "singsong" rhythm of sentences that are all the same length. (Source: McPhee)
4. Performative Framing: Using syntactic patterns that manufacture tension instead of stating things plainly. These feel manipulative and erode trust: (Source: Strunk / Graham)
   • Contrast framing: "This isn't X, it's Y" — just state what it is.
   • Engagement bait / false suspense: "But here's the thing," "Here's what most people get wrong" — skip the windup and deliver the point.
   • Contrarian hooks: "The real question is…" — manufactured disagreement before a straightforward claim. Direct, confident prose states things as they are. If the point is strong, it does not need a theatrical frame.

Diagnostic Checklist

• Have I replaced all passive voice with active voice?
• Have I eliminated adverbs by using stronger verbs?
• Are there any "fad words" or jargon that can be simplified?
• Does the sentence length vary to avoid monotony?
• Have I checked for unique words that are used more than once?
• Is the prose free of performative framing (contrast hooks, engagement bait, contrarian setups)?

Sources

• Strunk, William. The Elements of Style. Ch. 2 (Elementary Principles of Composition), Ch. 5 (An Approach to Style).
• McPhee, John. Draft No. 4. Ch. 2 (Structure), Ch. 4 (Checkpoints).
• Lamott, Anne. Bird by Bird. "Shitty First Drafts," "Short Assignments," "Perfectionism."
• Hemingway Editor methodology (hemingwayapp.com).