Loose Change

Most new authors have no idea what to expect entering into their first edit. From my bird's eye view as Editor-in-Chief I often get excited by the potential in a manuscript -- this story needs some minor changes and we could use it. From my view in the trenches as an occasional content editor, however, I realize potential isn't enough. A new author may be thrown by the author/editor dynamics.

An editor is, at best, collaborating with an author to produce the best possible version of this particular manuscript. But even when an editor can see precisely what changes need to be made -- and that doesn't always happen -- the editing process still may fail, because good editing hinges on great communication. An editor can suggest changes that will polish a story and make it better, but when push comes to shove, unless the author can grasp what the editor is asking for, the potential improvements won't happen.

I've often joked about matching up my editors and authors, saying it's like a marriage. Sometimes I'm a good matchmaker and sometimes I'm not. It's all about the chemistry. Sometimes it works. Sometimes it just... doesn't. All is not yet lost if the author doesn't quite perfect the book. Sometimes stories come out rough but have the ability to keep you reading despite the flaws. That's better than stories that come out perfectly polished, but lack the inner heart that keeps the reader glues to the page. An author who can keep you interested and has the capacity for growth in writing is well worth a smart editor's initial investment of time and energy.

Editor Judith David:

I'd like to think that in a good author-editor relationship, we each make the other better at our respective jobs. Bless newbie authors who have faith in editors. I suspect that manuscripts are never more precious to authors than when those authors are new. Those authors take an awful risk putting their first stories into the hands of complete strangers. That bravery deserves respect for the author and a special duty of care to the work. I always try to start from the strength.

Author and editor as a marriage? It's a trust relationship, but I don't know about calling it marriage. The point of marriage is seldom to deliberately tease out weakness (at least I hope that's not a function of marriage). And, I don't want a marriage in which anyone changes because of systematic presentation of weaknesses.

Editor Georgia Woods:

With new authors, they can only learn so quickly -- I try to focus on one big issue with each book. That doesn't mean their stories aren't good, it just means they are still learning their craft, which goes on for years. Even Nora's first books were not as good as her books today. But each book should be better and better, the issues fewer and fewer, but no, no one is going to instantly go from new author to experienced pro overnight, and any reviewer who expects them to doesn't know anything about the craft, in my opinion. But that's just me...

* * *

So yes, what an editor and author do in a good working relationship is, as Judith says, "make the other better" at their jobs. Not perfect. But always working on it.

By the time that editor had to leave Loose Id for another job, the author was very unhappy to see her go. She'd come to rely on the editor to point out weaknesses she didn't have the perspective to spot. And really, isn't that what we all look for in an editor?

How you work with your editor can take many forms.  At Loose Id and Changeling Press, you are assigned to your editor until death or divorce do you part.  The plus side is that you develop a working relationship with someone who knows you and you know who to check with when something goes wrong.  The con side is that you may know each other too well and miss things.

Other publishing companies assign the story to the next available or most qualified editor for that particular story.  Although you may not develop a relationship with any one editor, that method can make turn around time faster and you have the chance to experience a variety of editing styles and methods.

No matter how it works, you will be trusting your manuscript to someone at your publishing house.  (If they don’t edit your story before they release it, be very, very wary of that company.) Here are some dos and don’ts:

--Do try to listen though the whole edit before making a judgment.

--Do ask questions if you don’t understand.

--Do realize that if the editor doesn’t get what you mean that may mean no one will get it.

--Don’t change the story if you don’t know why it should be changed or strongly disagree.  That’s the time to talk to your editor calmly.

--Don’t mess with your editor on scheduling. (M had much more to say on this topic when she suggested it.)  If you say you’re going to do the edits by a certain date, say so knowing that you have a realistic chance of doing them or give your editor plenty of warning it won’t happen.  He or she has cleared her calendar for those edits and other authors are waiting in line for theirs, so if you don’t deliver, you are messing up your rep, the editor’s and other authors’ time and possibly the release date for several books.

Communicate with your editor.  If you can’t do that,  then you need to get a new editor.