Blogger: Janet Kobobel Grant
Location: Books & Such main office, Santa Rosa, Calif.
As publishers continue the trend not to retain in-house editors but to use freelancers, the question becomes, Why didn’t publishers do this sooner? What good is an in-house editor, anyway?
Having been just such an editor, I have personal insights into what fills an editor’s day, but I’ve asked some editors to weigh in on the question as well. This week we’ll also explore how to choose a freelance editor, if you want someone to polish your manuscript or if you’re self-publishing.
Let’s start the week’s discussion with in-house editors and the contributions they make to a manuscript.
One of the first items that occurred to me is that an in-house editor…
–Serves as your advocate.
Ever lose an editor mid-project? The heart goes out of the process; no one else seems to care the way your editor did. And you thought the entire publishing house was excited about your book! Why would losing one person make such a difference?
Carol Johnson, who pretty much launched Christian fiction by publishing the likes of Janette Oke and then steered Bethany House for many years, says it this way, “First and most important is the in-house editor’s ‘ambassador’s role–repping the author to the House and the House to the author. Having someone in person on site where decisions large and small are being made about a project you’ve invested blood, sweat and tears to create is worth far more than advance dollars.”
Jan Stob, from Tyndale House, sees her job this way: “As an acquisitions editor, it is my job to not only acquire but also to help communicate the vision for that product and/or author throughout the company. Having acquired a product, I have a vested interest in seeing it succeed. I become the in-house champion for this author and his/her title.”
Whatever word you attach to the job–advocate, ambassador, champion–editors see themselves as the party responsible to take care of your manuscript once you hand off that precious baby.
The editor is the hub around which publishing’s wheel moves for your book. If marketing has a question, if the book designer wonders if an approach is working, if the proofreader thinks she’s found a major error, each individual will turn to the editor for guidance. And that leads us to the second aspect of an editor’s job, project manager, which we’ll look at tomorrow.
In the meantime, here are some questions to respond to:
- Have you experienced an editor leaving a publisher while your project was being produced? How did that work out for you?
- What’s the first thing that comes to your mind when you think about the editor you’ve enjoyed working with most?
- If you’ve not had the chance to work with an editor yet, what quality would you value most in one?
I’ve worked with a freelance developmental editor to polish up the first few chapters of my manuscript and she’s awesome! (First word that comes to mind.) Her insight and opinion has been invaluable. Not only has she helped me overcome some flaws in my work, she has been hugely encouraging. Because I trust her accomplishments and her knowledge of the industry, I feel much more confident moving forward after hearing her assessment and making changes accordingly. While I would be excited to be assigned an in-house publisher to serve as advocate/ambassador/champion I would also be delighted to coninue working with my freelance editor. I can see that the bond between a good editor and a writer forms quickly. Losing one mid-stream would have to be devastating.
Oh, and as for what to look for, I’d look for an editor who’s also a teacher. Although the editor I’ve worked with has only read the first 20 or so pages of my manuscript, she helped me recognize what I needed to work on throughout the novel. An editor who can teach you to be a better writer is worth her weight in gold!
I hope it’s okay to put my editor’s name out there–it’s Jamie Chavez. http://jamiechavez.com/
I am an unpublished author who has had the rare privilege of communicating with an editor from a major publishing house about my manuscript. The first thing that comes to mind when I think about this editor is her dedication to a concept once she deems it holds potential. Through her, I have learned how important it is to have an editor who shows a vested interest, who becomes a champion for both author and project, and who settles for nothing less than excellence.
I believe the quality I’d value most in an editor is ruthlessness (I feel I won’t have a problem here). Don’t spare my feelings or compromise at the expense of the final product.
I can handle brutal honesty; I just want the chance to prove myself in response to their notes.
Hoping to have this opportunity soon (aren’t we all! Grin)
I believe the quality I’d like is an editor who is a good communicator. More and more I’m seeing the value in being able to communicate clearly to others what you expect and need the first time around.
Thanks for these insights, Janet.
I’m really looking forward to the rest of the series this week.
I haven’t worked closely with an editor yet. My ideal would be someone who is really excited about the potential in my project, but is brutally honest about what would make it better (echoing Lance above). I think the balance of those two things would yield an editor who wants to preserve a writer’s voice and vision while still making the manuscript the best it can possibly be from all sides, including from a marketing standpoint.
I agree with the great teacher, but also that it is a discussion /partnership.
I want to know when I’m off base, and realize I’m still new, but I was impressed in Denver. One “15 minute” slot went almost an hour with bouncing ideas back and forth.
I was expecting more blunt “do it this way,” but when questions were asked and I had answers, the developing discussion really helped more than any list of do’s and don’t’s
Each of you has listed an important quality in an editor. Honesty–yes; how else can you improve? But ability to communicate is pretty essential. I hated it when an editor told one of my clients that the editor wanted the story to be more charming. Huh? Isn’t charming in the eye of the beholder? And she didn’t seem able to define what she had in mind any more closely.
That connects to Rich’s comment about having a discussion, a back-and-forth, with an editor. Brainstorming with an editor is cool! Vistas open up as the conversation unfolds.
I’ve worked with a couple of editors who have been really good. They asked what my goal was and once they understood my goal they were able to tell me where I was falling short. I think a great editor will help you write the story you want to write and not try to make you write the story she doesn’t want to take the time to write. 🙂
What I’m looking for most with an editor appears to be heading toward marginalization in the industry–a longterm mentoring relationship. I want someone who believes in the writer and the writing and will demand the best–even if it’s painful. With all of the job transitioning going on with publishers today, it seems this may be a fading hope.
Michael, sadly, I suspect you’re right. It’s becoming more and more difficult to make a great connection with an editor and for that relationship to last long-term.
I have one client who followed an editor to three different publishers, but the editor kept switching houses, leaving the author and her projects at the “last” publisher.
That’s when you realize the relationship isn’t working…
I was ecstatic when an editor at Harper Collins expressed interest in my novel and sent revision requests and an invitation to resubmit if I was willing to work on some structure issues. I worked really hard on my revisions, dedicating a few months to the process and enlisting a reader to help me along. When I was finally satisfied with the revisions, I sent them back to my agent. Then the waiting game began. I waited for news for months. Nothing came and it seemed my agent was ignoring my questions about Harper Collins and instead was sending my novel to various other houses. I was so frustrated, but I finally got it out of my agent that the editor at HC had gone on mat leave and that her replacement wasn’t looking at anything new. I was both angry and relieved. I learned a lot from the experience, and ultimately it helped me make my decision to self-publish. How long can we go on waiting and wondering about what one person thinks when what we should really be doing is writing? I hired my own editor and am publishing my novel (that came so close) on Create Space. Just got my proof in the mail! I may have paid more money on editing than I’ll get back on sales, but at least I’ll be moving on to my second book.
Thanks for the true to life editor insights. I have yet to work with a professional editor, but I think I would like someone with an open mind to creativity….thinking about The Book Thief…a very unusual format for a story.
When I was a second-grade teacher I tried to honor the child’s creativity, providing guidance in structure, grammar, and punctuation, but not having to have a story conform to a cookie cutter pattern.
When I think of an editor, I think of the concept “come alongside”, helping the story be the best it can be, helping the author see how to do this.
I am looking forward to this continued discussion!
My experiences are with proofreaders/copy editors, mostly for articles. I think what I learned from them relates to this discussion:
1) I find it easier to work with an editor if there is a personal connection.
2) Each editor has her (they’ve all been female) own “editing personality,” which you need to learn and be comfortable with.
3) It is critical to work together and not be adversarial when you don’t like the edits or find a mistake. Yes, editors make mistakes, too.
4) When you are paying an editor for her services, she will work hard to make you happy because she wants more work from you or at least to get referrals. So, that always makes me wonder just a bit if her praise for my work is truly genuine!
Julee Schwarzburg freelance editor: Brilliant.
Julee and I just finished edits on my third novel, The Chair, and although she is the only editor I’ve worked with so far, I think I’m spoiled.
Julee is a perfect blend of “We need to fix this” and “Here are some things that are wonderful.”
She’s crystal clear in her edits, brainstorms with me, believes in me and my writing, and is a true partner.
Julee is a behind the scenes type personality, but I think she could (and should) teach a master class on how to work with authors.
Jim
I’ve never had to switch editors in the middle of a project, but with my first two novels I’ve been blessed to have an editor who is as much my cheerleader as she is my editor. A good editor who takes personal interest in the book and enjoys rapport with the author is worth her weight in gold.
Having an in-house editor seems very positive to me. I think I would appreciate the “vested” effort, as well as a particular person to correspond with repeatedly. It’s like seeing the same doctor again and again. We want and like recurrent relationship where we might even get to know that person as a person rather than just his or her position.
I’d like an editor who can give me specific suggestions with encouragement and honesty, as well. Like Michael said, I suppose I’d like a mentoring relationship.
Really interesting notes about editor-author relationships in the comments here!
This looks like it will be an excellent series.
Most of my work with an editor has been for an e-Zine, but I can say that for me it has helped to have a similiar vision. The articles I write are for a specific audience and my non-fiction writing has a certain style that seems to work well.
Since my first children’s book was published by a small press, the publisher was also the editor. She had a vested interest in having the final product be marketable, so I feel blessed in that regard.
I look for an editor who is honest and offers ideas for improvement. Just telling me what’s wrong with a piece, without providing some possibilities, can get discouraging.