Why You Need an Editor
Yesterday, I had a conversation with my editor about The Gemini Conspiracy, a paranormal trilogy I am writing for Nocturne. (BLOOD SON, my first Nocturne, comes out in February.) And I had one of those great writer-editor moments, in which she said something, and I GOT it. It wasn't anything enormous. She was full of positive comments, but she pointed out that I rushed a scene on page 24, and that I didn't have to because readers who buy paranormals are going to ACCEPT the paranormal world. Therefore I didn't have to shove in so much back story right away, and could take my time to spin my spell, to build my world. Simple advice, but it hit home for me.
And therein lies your editor. It's a relationship. She or he is a professional who will bring a gift of discernment to your work. Will spot your weaknesses and admire your strengths. And if you're lucky, will give you moments of clarity like I had yesterday.
So . . . I slide into a related topic. Sort of. I got in my email box an "excerpt" and a flashy book promo-video for an author--and it doesn' t matter who it is. This person clearly spent money on promo, and I got the newsletter from this person. And then I clicked and clicked on links and realized it was a self-pubbed book. Gutsy move! Until I started reading the excerpt. And the former editor in me, the person who still edits in her head, could see so many amateurish, ridiculous, wooden things about the prose. And I felt so sorry for this person, who had clearly decided that because NY rejected him or her, that self-pubbing was the route to go. Maybe people around this person told him or her ('cause I REALLY don't want to reveal the author so I am even dancing around gender) that NY was crazy to reject the book. Self-pub . . . you're "as good" as any of them. But in actuality, this person's money would be better spent not on fancy promo, but writing courses, or at the least, a very good editor.
The best writer in the world still benefits from that red pen. The best writer in the world still has a collaborative effort with editors and agents and critique partners, perhaps.
I am so thankful for my career. I am thankful for the guidance I get. Take your time, hone your craft. Get it right.
Thoughts?
And therein lies your editor. It's a relationship. She or he is a professional who will bring a gift of discernment to your work. Will spot your weaknesses and admire your strengths. And if you're lucky, will give you moments of clarity like I had yesterday.
So . . . I slide into a related topic. Sort of. I got in my email box an "excerpt" and a flashy book promo-video for an author--and it doesn' t matter who it is. This person clearly spent money on promo, and I got the newsletter from this person. And then I clicked and clicked on links and realized it was a self-pubbed book. Gutsy move! Until I started reading the excerpt. And the former editor in me, the person who still edits in her head, could see so many amateurish, ridiculous, wooden things about the prose. And I felt so sorry for this person, who had clearly decided that because NY rejected him or her, that self-pubbing was the route to go. Maybe people around this person told him or her ('cause I REALLY don't want to reveal the author so I am even dancing around gender) that NY was crazy to reject the book. Self-pub . . . you're "as good" as any of them. But in actuality, this person's money would be better spent not on fancy promo, but writing courses, or at the least, a very good editor.
The best writer in the world still benefits from that red pen. The best writer in the world still has a collaborative effort with editors and agents and critique partners, perhaps.
I am so thankful for my career. I am thankful for the guidance I get. Take your time, hone your craft. Get it right.
Thoughts?
posted by Erica Orloff at 6:11 PM
20 Comments:
I agree 100%, Erica.
I know of an author who has six published mysteries and has been nominated for an Edgar. Still, she received multiple letters for extensive revisions from her current editor.
A writer never gets too good to be edited, IMO. It only makes sense to listen to a pro who wants to help make your book better.
I agree, Erica. I have been tempted at times to self-pubb; I have resisted. I will say, however, that the market is so very skittish now, that it is hard to break in. You and Jay both loved TOMMY MARBACH'S SON and it never sold. After looking back on it, you were both right about FIREMAKER. But the world of publishing has changed unless 1. you've already been published 2. You are famous (actor, heiress, etc.) 3. You've been published in one of the major print mags. One small story: my latest completed book has not been picked up for representation. I gave it to a colleague at school and asked her to have a look. I think she's discerning. She came to me the next day and said, "I love the book, Gerry." I asked her how far she'd gotten. "I finished it," she said. "Couldn't put it down."
But, self-publish? Never. I don't think. I just keep plugging on. I will let you know what I think of editors when I have one. I will tell you this though, Erica. I just read an article lately that said there are no longer any Maxwell Perkins in the world--well, maybe Gary Fisketjon or your editor.
Gerry
Oh, Erica, I should have mentioned that last spring I sent the same book to an agent at Aaron Priest--the first 100 pages--she asked for the rest two days later and then answered a day later telling me she loved the writing and the story but it needed more layers. She said she would take another look late in the summer. I spent the summer revising it and then she read it again and turned it down. Yikes, this writing stuff is scary. Sorry to take up so much space, Erica. You are lovely, by the way.
Gerry
Jude:
I have had one really God-awful revision letter--not "mean" or harsh, but it was a difficult revision. I have one editor who is very tough . . . but she pulls a good book out of me. I think of it like a painting, and the editor comes in and with a dab of paint here, or a shadowing effect there, makes it better.
Gerry:
I think the very tough thing, too . . . is any time you step out of very specific conventions for genre. When I wrote KNOCKOUT, I think it was . . . my editor said that my complete ignorance of those conventions was my greatest strength and my biggest curse. I.e., it's not that I DON'T know they're there in the romance biz. I just ignore them. :-) I think your writing veers to the literary--and I couldn't define that if I wanted to--and it's just very, very good, but also just different enough from standard commercial fiction.
And yeah, this biz isn't for the faint-hearted. :-)
And thanks. I haven't been called lovely in a while. LOL!
E
Gerry:
One more thing . . . I agree. There aren't the editors that we used to read about, who stuck with Hemingway or had relationships for 20 years with a brilliant literary light. Publishers are much more driven by the bottom line now. BUT, that doesn't mean that there aren't editors who completely love your work and really are committed to making it better, to guiding you, and so on. It's just that, I think, they don't get to wield as much power as they used to, to stick with a writer not selling or an untested commodity.
E
Thank the gods for editors. I can't imagine doing this alone.
heather:
I know. And they're also the ones, when you are so sick of your own book, to help you see the light at the end of the tunnel. (And hopefully it's not an oncoming train.) :-)
E
I read somewhere that the light at the end of the tunnel is a guy with a lantern shouting, "Go back! Go back!"
I don't know how to tie that in with the topic here, but I like the image.
Off T, I read it was a guy shouting "Go toward the light..." Lesson, don't believe everything you read.
On T, self publishing NEVER. The few I've read need sooooo much help, they would be laughable if only I didn't know the blood, sweat, tears and $$$$'s the author had poured in.
I look forward to the day when I get things 'right' enough an editor will be willing to tell me what could be righter? More right? Correct? Hell, lets settle for 'marketable' shall we? :P
Lainey:
I don't want to take anything away from the many, many, MANY talented authors who really just need to get their foot in the door. There are a lot of writers I have read who are really top-notch. But there are also some very desperate people who need to take a step back and really examine their work and learn their craft. Either way, you can't give up.
E
Erica, you said it all - we all need editors and critique partners. This is one tough business and by the very nature of what we do, we tend to be isolated - so having someone to advise, critique and just be there is very important. At least now we also have blogs like this to help us keep in touch. Sometimes staring at that big, blank screen (or page) can be scary as hell.
Emily
Emily:
The blank screen taunts me sometimes!
E
I know of an an author, who in buiding a resume, has self-pubbed and self-pubbed and self-pubbed. I suspect the author has self-pubbed out of being seriously considered by an actual publisher. Resume, cranking out books to build a quota, without learning and focusing on quality...nah.
kathy:
There are some self-pubbed who hired editors. Tom Asacker, for instance, is one of my old clients [http://www.acleareye.com/books/]. He was a speaker with a thriving career who really didn't NEED a big publisher to back him. He was also a brilliant idea man, and his books had a great concept behind them. I edited and ghostwrote some of his material and was consistently impressed--but he's definitely in the minority.
E
Erica,
The part that really struck me as important was that editors, when you have really found the story stale because you're with it for so long, can remind you of what path you are on and why you're on that path. When you are editor-less, you just have to get up every morning and keep going at it. I sometimes will read a passage from a writer whom I especially love and that will remind me why I'm sitting in front of this damn computer at four in the morning.
Oh, and also there are those times when you get an e-mail on a snowy, Friday evening from an agent--who is also a fine writer--who says they sat down to read your book and read it in one sitting. AND THEY WOULD LIKE TO REPRESENT IT.
Those are the small pockets of burning ember that keep me at it every day.
Gerry
Gerry:
If you can sustain that passion for writing until you make that sale . . . and that's the trick. Not giving up and reminding yourself it's there inside you to do this.
E
Erica,
It's there. I can't imagine not writng anymore--even if it's only for myself.
People like you, however, sure as hell make it easier.
Gerry
I don't anything to add on the editor discussion, but I do love the cover for Blood Son.
Thanks, Naomi. I am getting used to it because the guy doesn't look anything like what I picture my hero . . . BUT I love her dress!
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