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Posts Tagged working with an editor
There’s a lot of criticism involved in being a writer. It’s part of every stage of writing a book. Early on, you need feedback to help you with your personal vision. Later, you might get input from publishing professionals – editors, literary agents, publishers. Some of them might reject your work! (Rest assured, this happens to all of us.) Finally, after all those thrashings, you’ll get opinions from readers and critics. We need thick skins at times; receptive hearts at others. We need to learn who to trust, who’s not a good fit for our aims, who to laugh off with a shrug. And alongside all these we have our harshest critics – ourselves, our hopes.
That’s what we’re talking about today.
Asking the questions is independent bookseller Peter Snell. Answering them is me!
Stream from the widget below or go to our Mixcloud page and binge the whole lot.
PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.
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If you’re friends with me on Facebook you’ll have seen a good bit of gallivanting this week at the London Book Fair. As soon as Olympia closed its doors, the Alliance of Independent Authors began its 24-hour marathon festival of advice and information for authors. Whether you’re indie or not, there’s heaps of interesting stuff for the 2016 author, such as: a cover design clinic, marketing advice and tips on crowdfunding.
I’m chairing a panel on editing – what an editor does, how you choose one, some misconceptions and some stories from the trenches. My co-conspirators are Ricardo Fayet of the Reedsy editorial marketplace; indie author Laxmi Hariharan; and author and editor Andy Lowe (who you may recognise from The Undercover Soundtrack). Do come over.
Alliance of Independent Authors, editors, how to choose an editor, how to improve your writing, how to learn to write, iaf16, independent authors, independent publishing, indie author fringe 2016, publishing, video, working with an editor
When I write a report about an author’s novel, it usually runs to at least 25 pages of detailed notes and developmental suggestions, plus annotations on the manuscript. Sometimes I’ve written 60-page reports. Although I make my responses constructive and helpful, and discuss strengths as weaknesses, I know it’s daunting to receive such a screed. I know my writers think ‘crikey, she needed to say all that? Did I get it so wrong?’
And this: ‘I thought the book was perfect. What kind of shambolic half-wit does she think I am?’
Well today, I’d like to let you know how the editor sees your book.
My open letter to the edited
Although it may be hard for you to believe when you see the size of my report, I know your manuscript represents aeons more time than the hours it takes me to glide through with my editorial eye. I never underestimate the care you have put in – because I write novels too.
I know the painstaking research and life experience you’ve used to create the world and the plot.
I know you invented – from nothing – a long, twisty path between beginning and end, with carefully laid crumb trails, reversals and surprises. And that it didn’t all happen in one Eureka moment.
I know you’ve chosen every name after careful deliberation – and possibly many rejects. Ditto for the style, language, themes.
I know this manuscript is the result of many decisions and readjustments, made month after month – and that although you might have beta readers, the only thing you could rely on was your own spider sense. Although I might remark on research, locations, character back story and other material that does not fit, I know that you have reams more, which you were already disciplined enough to excise.
I never forget that the draft you give me doesn’t represent just enthusiasm, but also dedication – to persist when the problems were drowning the pleasure.
So yes, you get reams of comments from me, and they’re usually a shock because you thought you were done. But when I write them, I don’t feel like I’m telling you you’ve done it wrong. I feel I’m pointing out the details you didn’t have time, distance or expertise to see because you were already doing a superhuman job.
And so, when this editor sends you her notes, she also sends her admiration.
Welcome back to writing in 2014. What are you hoping to achieve? I’m ploughing on with Ever Rest and aiming to get another Nail Your Novel book out (2015 update – NYN Plot is alive and kicking). Tell me your goals in the comments!
Thanks for the pic soccerlime
NEWS The print edition of Lifeform Three is now available! If you’re wondering what it’s all about, it’s been amassing some nice reviews, which you can see here, and I’ll also be sharing its Undercover Soundtrack on the Red Blog this week. Hope to see you there.
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There will be changes
Always. Even if you’ve had beta readers. Even if you’re a seasoned pro. Of the 14 or 15 full manuscripts I’ve submitted, there was only one where the editors didn’t want to change anything, beyond tiny niggles. Only one.
There are two kinds of feedback. In traditional publishing, agents – and editors in the initial stages – will tend to give brief, sweeping notes about character arcs, pacing, credibility and relatability. Even though these won’t be as detailed as the work an editor will do, they might keep you busy for a couple of months.
Moreover, an editor who does a detailed critique may have a different vision from those who have looked at it before. (Should you edit to fit another person’s tastes? A million-dollar question, which I’ll come back to.)
Anyway, most of us swallow hard when the detailed report arrives. This is what I do.
Critique report survival tips
Expect a large document that tackles your book in close detail. Sometimes very large – I’ve written 50 pages for a novice author (but there I’m also taking a tutoring role, so my commentary includes discussion of craft).
1 – Read the report without doing anything. Satisfy your curiosity. Don’t make to-do lists or open the manuscript. Just read.
2 – Set it aside. Yell, scream etc. Wait as long as your deadlines allow. This also lets you digest. When you’re even-tempered about it, start work.
3 – Some suggestions will be easy to fix. Some will be harder. Some will be praise and encouragement, though you might not have recognised them. Read through and mark the easy stuff – either highlight on a printout, or colour in the Word document. Tackle these immediately if it makes sense, and feel satisfied that you’re getting this under control.
4 – Now you’re limbered up – and are familiar with your manuscript again – you’re ready for the trickier suggestions. Separate out the ones you don’t agree with.
Often editors make suggestions that skew the book in a way you don’t want. But they may have identified a significant problem. Disregard their solution and delve deeper for the source.
For instance, an editor who saw an early draft of Life Form Three told me it needed another viewpoint character and that one of my story devices was confusing. I didn’t want another viewpoint character, so I made the original one more relatable. The confusing story device was also important to me, so I reworked it. Result? He was happy because the problems were fixed.
Of course, if you have a traditional publisher, an editor might ask for changes to fit their list and readership. Use your judgement, but remember this: if you are named as the author (ie it’s not work for hire) a publisher can’t change anything without your agreement. Dig your heels in if there is something you really disagree with. In a worst-case scenario they might decline to publish, but this rarely happens. (They also can’t make you agree to a cover or title you don’t like, BTW.)
If you’re indie, you of course have complete freedom to decide what to change. But consider whether an unsuitable suggestion is pointing to a problem you should tackle in a different way.
What, another stage of feedback? I’m afraid so. Copy edits are done after main developmental feedback. But they can still throw up enough problems to make you gnaw the desk.
Copy editors notice the tiny details that slipped by when everyone had bigger problems in mind. They also catch the errors that crept in as you went over the manuscript again and again. The murder victim’s hair might have changed colour. The timeline is impossible.
It’s better to be pre-emptive about this. Keep tight control of these details as you edit – especially the timeline. Although you can probably correct physical details such as characters’ ages and hair colour with a few inventive text searches, you can’t fix the timeline so easily and the whole plot might unravel if it’s wrong. (I map out the timeline when I make my beat sheet.)
The beat sheet is one of the tools described in my book Nail Your Novel … more about it here
Thanks for the pic Brainedge
Do you have any tips for tackling critique reports? Did you ever disagree with an editor’s suggestions and what was the outcome? Let’s share in the comments!
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- Making my honest art – writing and publishing literary fiction: interview at @thecreativepenn July 27, 2021
- Let pollocks be pollocks – a little chat about dialogue tags July 18, 2021
- The books that are our teachers – and 5 of my favourite reads (at @muddysurrey ) July 15, 2021
- How to become an author (and how to stay one) – interview at Write-Hearted with @MisterWakefield July 11, 2021
- How I made my writing career – novelist, playwright, photographer, actor Steve Zettler @szettlerauthor July 6, 2021
- Win a signed print edition of #EverRest July 5, 2021
- How do you like to talk about books? Themes, juxtapositions and the complication of being human – an interview at Late Last Night Books @L8NiteBooks June 27, 2021