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The part that I'm interested in goes like this - an author makes an absolute hash of early modern English in his book. Reviewer points it out. Defenders of the author say 'so what, it's not like it really is early modern English, it's an archaic language that the author is choosing to represent as early modern English'.
The original reviewer made the point that having chosen to do this, the author (or his editors) ought to at least make it accurate.
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One of the commentators on the post says that it's an unfair analogy as the writer of the review happens to be history specialist and a specialist is bound to pick up on things more than a lay-person.
I find it interesting because I've been complaining about the science in the last Sherlock
Because while I accept the drop interesting coloured liquids on stuff to see what it is in older Holmes stories, that's not how it's done, not for chemicals anyway, nowadays. Now I think I might be being slightly mean because the previous one got the right jellyfish for the GFP-fluorescing animals, and, even if it did downplay how ridiculously difficult it is to get even mice fluorescing, the general jist of the science was not wrong.
but I'll give it a pass because it's not actually wrong. It's the same with CSI and it's spin-offs, I'm more tolerant than my friend whose Dad is a SOCO (scene of crime officer), because I see it as merely over-stating the powers of the science rather than being flat-out wrong, but when it's actively wrong, such as getting AMF the wrong way round, I'll complain.
To me, it makes more sense to be as accurate as possible, where it is possible, because it won't harm your work, and then fudge the details that you absolutely need to because you can't know what your audience knows more about than you. It's probably better to assume that they know more about it than you do.