The Writer-Editor Relationship, Part 2: Editors Preparing Writers

 

 

 

In my previous article, “Five Things Writers Should Look for in an Editor,” I focused on clarifying expectations between editors and writers from the writer’s point of view. 

 

Part 2, this article, focuses on this same relationship from the editor’s point of view. If you are a writer, this article serves as a workable checklist of what you should expect from a good editor.

 

 

Realizing Expectations 

 

Indie authors often come to editors with unclear and, at times, unreasonable or unrealistic expectations on services. Many writers know very little about the kind of editing we do and the different levels of effort (time and associated fee) required. They do not understand the difference between “copy-editing” and “structural editing”, particularly as it pertains to their own work. In fact, many indie writers don’t even know what their MS requires. This is because of two things: 1) they can’t objectively assess their own work, particularly in relation to market needs; and 2) many authors have not sufficiently considered their “voice” or brand and matched it to a relevant target market. Both of these will influence how the writer comes into the relationship and the nature of their expectations.

 

It is best to be “up front” with everything, from understanding a writer’s work and market expectations to establishing your fees, your time, and the nature of your services. This is why a savvy editor will ask for a one to several page example of the author’s writing prior to offering their services and finalizing the nature of a potential relationship. Such an exchange may, in turn, include a sample of the editor’s work for the writer to assess. This exchange helps clarify the process for both parties.

 

A savvy editor will want to establish with the author the following things prior to taking him/her on as a client and embarking on the actual editing task:

 

1.    The nature of the writer’s work: a writer’s work should harmonize with the editor and achieve a good fit; e.g., I edit fiction and non-fiction; however, I do not edit horror, because I simply can’t relate to it and don’t care for it.  More on this below.

2.    The author’s expectations and target market: this is key to establishing the kind of editing required for the author’s piece. Is it good enough to just copy-edit or will the piece require substantive edits to succeed in the identified market? This often requires open and frank communication between editor and author.

3.    Nature and time of submission: on which the schedule is based. 

4.    Schedule and deadlines for deliverables: based on the editor’s realistic timing (including other work) and the nature of the editing job (to be established by some reliable means).

5.    Nature of communication: form and frequency; partly to ensure that the writer does not abuse the communication stream with a barrage of emails, e-chats, phone calls, etc.)

6.    Nature and cost of deliverables: e.g., use of track changes; inclusion of summary letter; follow up meetings, etc.

7.    Mutual agreement on fees, fee structure and payment details: what, how and when.

8.    Inclusion and nature of contract: this may include an NDS, if desired.

 

By clarifying these, you and the author create a new set of realistic agreed-upon expectations.

 

Fitting Writer with Editor

 

The right fit for editor and writer includes more than harmonizing genre, writing style, and content. The fit includes personality. A professional editor and writing colleague of mine recently shared on our list-serve about his experience as both a freelance and publishing house editor. The editor shared that a majority of writers responded to his edits with comments like, “finally, someone who just comes out and plainly tells me what’s wrong!” However, others complained: “why are you so mean?” The editor admitted to using humor liberally in his assessments and was described by one of his clients as “playfully harsh.” While the work of this editor is no doubt impeccable, the added humor may not be a good fit for some writers, particularly those who are not highly confident in their work. 

 

Knowing your own brand of editing and being up front with it is part of achieving a good fit with a writer and can avoid huge headaches down the line for both of you.

 

Toward Honesty & Moral Integrity

 

I and some of my editing colleagues have run across several cases of indie writers who have come to us with “already edited works” that they believed only needed proofing or minor edits, but in fact called for substantive editing and story coaching to fulfill market requirements. The previous editor had either done a poor job of editing or the author had done a poor job of incorporating the edits. Either way, I was now in the position to inform this author, who had already spent several thousand dollars on edits, that his work required more than a “trim job off the top” to meet the standards demanded by the market.

 

My colleague suggested that it is unethical to copy-edit a manuscript that obviously requires structural editing or has serious “story” problems. I’m inclined to agree. The key lies in the expectations of the author and his/her intended market. This is where the editor’s knowledge of “matching work to market” becomes a critical part of the relationship with the author, whether you take him/her on as a client or not. I talked more about this in an article on Boldface: “The Moving Target of Indie Publishing: What Every Editor (and Writer) Needs to Know.” Honesty is best. Following the path of moral integrity may not put food on the table; but it will maintain your reputation as an editor of quality, which will keep the roof over your head.

 

Below is a mock email of a general response to a writer’s inquiry for help on their MS:

 

Dear Alice,   Thank you for your interest in my editing services. I am still taking on clients and would be happy to help you.    In your initial letter, you included a brief description of your story. It sounds intriguing and interesting. Science fiction is my passion (I’ve published nine SF books so far).   Before we proceed, I need a few things from you to ensure we are a good fit and to help me do the best I can for your project. First, can you please send me a short sample of your work (2-3 pages) and a very short summary. From this I’ll be able to confirm the kind of editing that best suits your project. For the kinds of editing/coaching services and associated fees please refer to this page on my website: xxxx.    Can you also answer the following questions? 1.     (If they haven’t included the genre or a short premise, I ask them for one). 2.     How do you intend to publish this book (traditional, indie, self-publish)?  3.     Who would you say is your intended audience and market? 4.     Is this book a stand alone or part of a trilogy or series? 5.     Is the book complete (first draft or more)? If not, how much is written?   Based on this, I will suggest the kind of editing (and coaching) required to best fit your needs. This may be one or a combination of the following: 1) an evaluation/assessment at $xx/page; 2) copy-editing (with some substantive editing) at $xx/page; or 3) story coaching at $xx/hour. As outlined on my webpage (xxxx), I provide digital commentary (line by line) in your manuscript (in Word through track changes) accompanied by a summary letter with recommendations. You can find examples of what I do on this page of my website: xxxx.   Once I’ve determined what services best suit your work and you are in agreement with the service and fees, I will draw up a contract for you and I to sign. The contract will stipulate a reasonable schedule that you and I can agree on for the process and deliverables.   Once the contract is signed by both of us, I would ask that you send me your material along with Paypal payment for the first half of the agreed total fee by the date marked in the contract.    I look forward to hearing from you.   Best Wishes, Nina

 

 

The Writer-Editor Relationship, Part 1: Five Things Writers Should Look for in an Editor

 

As indie publishing soars into new heights and successes, writers are looking more and more to freelance editors to help them create works of merit that will stand out in the market. Whether this process is seamless and productive or fraught with difficulties relies on the relationship established between editor and writer--at the outset and throughout.

The writer-editor relationship—like any relationship—works best when communication between parties is transparent and clear. What ultimately drives misunderstanding—or its corollary, harmony—is “expectation” and how it is met. Clarifying expectations on both sides is paramount to creating a professional and productive relationship with few hitches. 

 

Clarity of expectation, honesty, and mutual respect are key features in a productive and successful writer-editor relationship. Writers expect editors to inform them if their expectations are out of line, and writers rely on editors’ honesty and transparency to let them know if they are comfortable with the task being asked of them. This, of course, is predicated on the editor’s full understanding of what that task is; again, it is the responsibility of the editor to determine the scope of work from the author—just as a doctor will ask key questions to diagnose a patient. If an editor has reservations, caveats, or limitations with the project, these should be shared upfront. Honesty is always best, and it should start right from the beginning so that mutual respect is cemented.

 

Below, I list five things that writers should look for and expect from a good editor. Each of these five items can be determined at the outset, when you and your potential editor first meet. Consider that first meeting as an interview for both of you, to determine if you are a good match.

 

1. The editor will preserve the writer’s voice through open and respectful dialogue: Losing your voice to the “hackings of an editor” is perhaps a beginner writer’s greatest fear. This makes sense, given that a novice writer’s voice is still in its infancy; it is tentative, evolving, and striving for an identity. While a professional editor is not likely to “hack,” the fear may remain well-founded.

 

A novice’s voice is often tangled and enmeshed in a chaos of poor narrative style, grammatical errors, and a general misunderstanding of the English language. Editors trying to improve a novice writer’s narrative flow without interfering with voice are faced with a challenge. Teasing out the nuances of creative intent amid the turbulent flow of awkward and obscure expression requires finesse—and consideration. Good editors recognize that every writer has a voice, no matter how weak or ill-formed, and that voice is the culmination of a writer’s culture, beliefs, and experiences. Editing to preserve a writer’s voice—particularly when it is weak and not fully formed—needs a “soft touch” that invites more back-and-forth than usual, uses more coaching-style language, and relies on good feedback.

 

An editor colleague of mine consistently accompanies her edits with the question, “Does this change preserve your meaning?” This prompt both focuses on “voice” and reminds the writer that the editor is considering it, which fosters a nurturing environment of mutual respect. Editors who are not familiar with working with writers in the early stage of their careers may wish to defer to one who is more experienced. This is something you should ask when you first find an editor.

 

Editors also need to consider how the author’s narrative voice harmonizes with the standard in the author’s targeted genre and niche market. Pursuing respectful and open dialogue about how the author’s voice fits or doesn’t fit that standard is another responsibility of a good editor and one an author will come to rely on—particularly early on in their career.

 

2. The editor understands—and embraces—the market and genre of your writer: Writers are often told to write what they know. This edict applies equally to editors: edit what you “know” and understand. Each form of writing—from literary and genre fiction to journalism, the memoir, and technical writing—encompasses an overall style, culture and vision, associated language, and even “jargon” that is important to understand to succeed with readers. Even writers who subvert the trope need to first understand what they are subverting, and so does the editor.

 

I write and edit science fiction and fantasy. I do it very well, because I have a passion for the genre and I intimately understand its world and language, including where the boundaries lie and where the risks—and sublime nuances of originality—also lie. I worked as a scientist for over 20 years and have published papers in peer-reviewed journals, so I am comfortable editing technical and scientific papers. I live that world. On the other hand, I do not read, nor do I understand or care for, the horror fiction genre. Not only would I do a lousy job editing a work of horror, but I wouldn’t provide the discerning editorial advice to best place that work in the horror market. It is in the area of market niche that one editor will shine over another based on their familiarity with, and current activity in, that industry sector. This is ultimately what writers are paying for: the multi-layered understanding of the editor that comes with a full embrace of that world.

 

Your potential editor should ensure a good fit and the best chance for success by not taking on work in a genre with which they are neither familiar nor comfortable. Which leads me to the next point:

 

3. The editor is honest and practices moral integrity: they don’t take on a writer’s work unless they like and believe in it: When I was starting out as a writer with my first novel, I shopped it around to many agents, hoping for representation. While the book was eventually published with great success, many agents had rejected it. Literary agents take on clients and shop their books to publishing houses. They usually charge a percentage of the take and are not paid (if they are good agents) until the book is sold to a publishing house. Payment, therefore, is predicated on success. In many cases, an agent would respond with good things to say about my first manuscript but would not take it on, citing this common phrase: “It just didn’t excite me enough.” I was initially puzzled by this response. If they liked it, why didn’t they take it on? But “I like” isn’t the same as “I’m excited.” I soon realized the importance that excitement played in the agent’s business. They were my advocate, after all. If they weren’t eager about the book, how could they sell it to someone else? And if they couldn’t sell it to someone else, how could they get paid?

 

While the editor is usually paid up front and/or upon deliverable, they fulfill a similar role: that of advocate. If an editor takes on a writer’s work without enjoying it or believing in it, they are much less likely to do a good job. And both lose when that happens.

 

When we just do a job for the money and not for the passion of doing something well, we run the risk of losing on all fronts. We run the risk of being dishonest in our assessments and then doing a shabby job. And then losing our reputation. Editors need to be an advocate and be honest; sometimes, that means saying “no” to a project and explaining why. As a writer, you are entitled to working with an editor who enjoys your work.

 

4. Editor edits professionally and appropriately to promised deliverable: In my capacity as writing coach, I have met with several writers who have complained that their work had been insufficiently or inappropriately edited. This can occur for several reasons: (a) lack of time; (b) incompetence; or (c) inappropriate match-up.

 

(a)  Lack of time

 

As a writer, I once experienced an insufficient copy edit by a freelance professional editor. In fact, this particular editor was a good editor and had impeccably edited a previous work of mine. When I submitted my “edited” work to a beta reader, he pointed out many places that my copy editor had missed. A few is OK, but she’d missed many. From subsequent correspondence, I deduced that my editor had been overrun with other projects and had skimmed mine a little too fast. Unfortunately, this was unacceptable, given that I’d agreed to pay her a professional rate for a specific deliverable: a copy-edited, proofed, and publication-ready manuscript.

The ultimate message here for editors is, don’t take on a writer’s work and make promises of delivering until you know what you’re getting into and know that you can do it in the time you suggested. Honesty is best here. If an editor is too busy to meet the specified deadline, they need to say so and refer the writer to another respected editor if they can’t wait. A smart editor knows they aren’t “losing” the client. But that editor I mentioned in the previous paragraph did. It’s best to create a contract with the editor that is mutually beneficial, transparent, and detailed with reasonably scheduled updates, etc.

 

(b)  Incompetence

 

Unfortunately, most editors who are incompetent are unaware of it. One of my professional writer-editor colleagues at SF Canada invoked the Dunning-Kruger Effect (“at a certain point, people who really don’t know something don’t know that they don’t know it”) to share her story of what passes for editorial input in “an age of homonym errors.” She suggested that some self-appointed editors are convinced they have significant skills but allow a large error rate.

 

This is where organizations like Editors Canada become invaluable. Editors Canada certifies editors for skills in various editing fields and forms (that is, structural-, stylistic-, and copy editing and proofreading). Professional editors can be variously certified, and should ensure that they make this known to the writer; many writers not only don’t understand the various editing forms (for example, copy editing vs. structural editing), they also don’t necessarily recognize competence until after the job is done—when it’s too late. You, the writer, are entitled to ask your editor for references, testimonials, certifications and other forms of proven experience before signing on with them.

 

(c)  Inappropriate match-up

 

This is similar to point 2, which talks about matching writer and editor through genre and market. A good fit also includes temperament, schedules, communication style, and other considerations that will affect the editor-writer relationship and the natural progress of the project. As editor, I have encountered a few clients whose communications with me created tension and misunderstanding. We mutually agreed to terminate our arrangement early on, which saved much tension and grief. The transparency of the relationship allowed us to recognize the mismatch early on and attend to it before it became problematic and wasted both our time and efforts. You can prevent this to some degree by researching the editor’s style and experience with other writers. Many editors—like me—put their testimonials, experience, and even editing examples on their website. Another way to achieve match-up success is to get a referral from a trusted writer friend. 

 

5. The editor keeps the relationship—and language—professional and respectful: Without necessarily expressing this, the majority of writers—particularly beginning writers and, by default, indie/self-published writers—seek a professional editor who will treat them with respect. What this translates into is the use of professional language, tone, and behaviour. You aren’t looking for an editor to be your “friend.” You are also not looking for a professional editor to validate your work or you as a person. As a writer, you seek a professional editor to give you honest and helpful advice that will help you create the very best work you can for eventual publication.

 

Simple. Not so simple.

 

As an editor who is also a writer (who gets edited a lot), I provide rationale as much as I can for the suggestions I make to writers and I do it through professional language, tone and behaviour. I am friendly but I keep it professional. This helps establish and maintain a respectful and collaborative relationship between author and editor. Think of it as a doctor-patient relationship; I’ve dropped doctors like hot potatoes who are not willing to sit with me as an equal and discuss their prognoses. I want to know why, and ultimately, it’s my decision. The editor is an expert, but so is the writer.

 

In the final analysis, the writer-editor relationship is foremost a professional one. As an editor, I feel it is my duty to promote integrity and respect with the writer, and this hopefully within a safe and nurturing environment for the achievement of mutual excellence. As a writer, I expect my editor to be respectful and act as advocate to my work. I offer my respect on their expertise with communication. 

 

I’ve been edited by many editors, including freelance editors with Editors Canada to publishing house editors throughout North America and beyond. A good editor is like gold in your pocket. They can help you improve your work beyond your own imaginings. In the end, every decision remains yours. While I normally take most of my editor’s advice (usually 95% of the time), I often find the odd place where their suggestion does not fit the heart of my writing. Then I simply say “no.”

 

 

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

Tracking Change: e-Merging Methods and Markers—EAC Conference 2014

Eager participants at the National EAC 2014 conference

I recently participated in the Editors Association of Canada (EAC) National Conference at the Li Ka Shing Knowledge Institute in Toronto.

Entitled Tracking Change: e-Merging Methods and Markers, the conference focused on “the shifts we are seeing in editing, publishing, language, technology, business and culture,” wrote 2014 conference co-chairs Emily Dockrill Jones and Nancy Foran. The conference featured over forty professional development sessions in an ambitious and often dizzying five-track program.

Nina at the Exclamation Mart!

Beginning with a keynote address by Douglas Gibson, publisher of McClelland & Stewart, and

National EAC table with resources

ending with a keynote by author Terry Fallis, the conference offered sessions in business and career, editing and revisions, editorial niches, language and culture, and tools & technology.

The importance of the Internet and Social Networking in emerging opportunities of a changing publishing paradigm was evident in the topics covered. Some session titles included: “How to Leverage Linkedin to Showcase Your Editorial Expertise”; “An Introduction to Search Engine Optimization”; “Brave New World: e-Reading, e-Editing, and e-Publishing”; “e-Merging in Social Media to Win Clients”; and “Digital Publishing Opens Up New Opportunities for Pro Editors”.

Merridy Cox Bradley

I found the session with Tammy Burns entitled “How to Edit a Blog (and When and Why You Should) particularly interesting and relevant. Burns, a writer and editor for the Travel + Escape television network, shared that blogs now rank alongside major online publications. The web log “diary” has matured into an information vehicle for newspapers, magazines and e-zines that rely on them to increase their online reader engagement. Companies use blogs to demonstrate expertise and build brand loyalty. Writers and editors use their blogs as online portfolios.

cool editor's bling

In many cases, blogs have replaced websites with a more dynamic, interactive and user-friendly interface and gateway to accessible communication. I teach a workshop in Toronto on just this subject and find it always well-attended.

I also shared a table at the Exclamation Mart! vender fair (conveniently located right beside the free coffee and snack buffet) with editor/author Merridy Cox Bradley and the Indexers Society of Canada. I had several of my fiction books for sale as well as writing guidebooks useful for editors as resources. Thank you all for your interest in my books and particularly serial entrepreneur Carolyn Burke (panelist for “Earn More by Working for Free) who—at the very last minute of the con—purchased my entire Splintered Universe Trilogy.  Hope you enjoy the ride, Carolyn! Thanks, everyone!

OMG! Which one do I choose?...

Resources for Editors Working with Writers Who Are Self-Publishing

A growing number of authors are not only opting for self-publishing, either using a publishing service with assisted package at cost (e.g., XLibris, iUniverse, Lulu or Friesen) or a printer/distributor like Lightning Source. Either way, writers choosing to self-publish are finally getting the message that in order to sell their creative work, they need to apply more than good promotion; their work must look and be professional. This means getting professional assistance with book design (e.g., cover and interior design), and with story content (e.g., an editor and sometimes a writing coach). Sometimes an editor need not refer a client to a writing coach; instead, they can refer them to several good resources.  

I sold copies of my educational resources to editors working with self-publishing authors, the fastest growing market of clients for the professional freelance editor:

·     

     

The Fiction Writer: Get Published, Write Now! (Starfire World Syndicate, 2009): this guidebook on fiction and non-fiction writing focuses on the major aspects of the craft of writing. Used by creative writing instructors of high schools through to universities in the USA, Canada and abroad, as well as by professional writers, The Fiction Writer provides an excellent reference for authors working with editors on their own project. It’s written in a conversational style that makes it easy to read and learn. Available on Amazon and a quality bookstore near you.

The Journal Writer: Finding Your Voice (Pixl Press, 2012): this guidebook provides advice on all aspects of expressive writing from journaling to memoir, and includes instruction on the use of blogs and major social networks. It is available on Amazon and a quality bookstore near you.

 The Writer’s Toolkit (Starfire/Lighthouse Media Group, 2010): this 3-DVD set of educational lectures on 1) how to get started…and finish, 2) craft, and 3) marketing and promotion covers all major areas for a writer to successfully publish. Used in libraries and schools, the DVDs are an excellent resource for authors just starting on a project. Available on www.ninamunteanu.me.

Editors who missed out can still purchase the two guidebooks on Amazon. The DVD set is available for purchase through my website www.ninamunteanu.me. 

Nina Munteanu is an ecologist and internationally published author of novels, short stories and essays. She coaches writers and teaches writing at George Brown College and the University of Toronto. For more about Nina’s coaching & workshops visit www.ninamunteanu.me. Visit www.ninamunteanu.ca for more about her writing.