Blogger: Janet Kobobel Grant
Location: Books & Such main office, Santa Rosa, Calif.
Yesterday we talked about how an in-house editor is the hub of the publishing house’s wheel when it comes to your book. (For the sake of simplicity, I’ve assumed the editor does both acquiring of manuscripts and editing, a case that isn’t true for every publishing house.)
If the editor is the hub, that means he or she…
–Oversees that the tone of your manuscript is accurately reflected in all aspects of the book including the cover, the title, the back cover copy, and catalog copy.
Only an editor knows what note your manuscript sounds and makes sure everything connected with your book sounds the same note.
Jan Stob from Tyndale House puts this “visionary” aspect of the job this way: “When we bring a proposal to committee, our marketing, sales, and execs commit to the vision we present for that product. It’s my job to make sure the manuscript that is delivered meets the expectations that we were presented on the front end. As in-house editors, we know why this product was chosen–for our line, our market, and our corporate mission statement. We acquired this product for its unique hook, marketability, ministry value, as well as the author’s storytelling and writing ability and are committed to seeing it fulfill its promise.”
Beth Adams from Guideposts notes, “A lot of people think an editor takes a manuscript and makes it better. That’s my favorite part of what I do, but it’s only a small part of what being an editor is really about. A lot of what I do is project management—making sure every piece comes together with the manuscript, the marketing plans, the design, etc. I am the champion for the book, and get everyone in-house excited about it so that they can go out and convince booksellers and readers that they’re going to love it too.”
“Someone who knows you and the project from the ground floor will be able to provide the marketing information and sound bytes needed to prepare the promo materials and launch the book” is how Carol Johnson, who now oversees the fiction line for Hendrickson Publishers, explains this aspect of being an editor.
So you thought editorial was huddled over in one section of the publisher’s building while sales hung out in another and marketing in still another? Well, yeah, that’s true. But the driving force behind the ideas marketing comes up with, the essence of your book’s cover design, the aspects of your book focused on in the back cover copy and catalog copy is your editor. And generally it’s your editor who presents your project to the sales staff so they understand how to present the book to retail outlets.
Not that the editor is actually creating marketing plans, writing ad copy and Photoshopping your cover, but the editor instills a vision for what your book is about to everyone at the publishing house. That’s the editor’s job from the moment he or she decides to present your project to the publishing committee until your first printed copy of the book lands on your doorstep.
Now, just picture what would happen if the editor were air-lifted out of the process. That’s what occurs when a publisher decides in-house editors are too expensive to retain.
Really, pause and think about the affect of such a decision. Who’s going to steer the boat for your book?
Now, give me some feedback. What about this post is news to you? In what ways does it change how you view editors?
If you’re published, what were you aware of regarding your editor’s participation in the process? What parts are a surprise to you?
I didn’t realize your editor was both your choach and your cheerleader. I thought they just helped the author on the story. Now I see how much more they do.
I also see the value of an in-house editor. I understand the money issue of freelance editors and that they may be wonderful editors, but I hope I have the chance to work with an in-house editor.
Thanks for lifting the curtain for us pre-published authors, Janet.
I’ve always thought of my editor as my book’s best friend and you’ve confirmed that here. I wasn’t as savvy about just how involved they are in the overall picture. Sometimes I wonder when back cover copy comes along or I finish creating discussion questions if my editor ever sees them. Now I know. I’d give anything to spend a day with my publisher and get a behind the scenes look – some author friends and I are hoping to do that. Thanks, Janet, for another stellar post.
Given these points, it seems an in-house editor would be worth the cost to a publisher. Without a visionary champion, won’t they lose far more in the long-term of a project? Interesting choice. We can only hope that those championship editors who are now freelancers apply the same integrity to their projects as they did when they were in-house.
Your posts gave me a whole new perspective on the tasks that editors perform. I didn’t realize all the jobs within the job. Thanks for the information.
Wow. I never want to go through a change of editor! It’s too important to have someone who’s seeing the big picture of the book.
Blessings,
Voni
I just love the fact that we have wonderful agent and editor blogs available to read these days. I believe strongly that we budding authors have an advantage with being able to learn so much about how things work on the other side of the publishing curtain. It enables us to be wise in each step, and to value the difficult job of every person who touches a book from concept to print and beyond.
Thank you for this, Janet.
If I were a publisher…
OK I’d never be a publisher because I’m a lousy business person, but from my side of the desk I’m wondering if publishers are cutting their own throats.
I’m obviously not seeing clearly, because I don’t understand why printers aren’t the only ones being fatally wounded as we move into the digital age. I’m a writer and I want an agent to represent me and a publisher to partner with me by taking the financial risk in giving me an advance, and in designing, editing, and paying the printers, and finally in distributing, and marketing the book.
Are they all so broke that they just can’t afford to pay editors?
Oops. You asked in what ways does this change my view of editors. Sorry. Here’s the answer to that one. I now view editors as agents. 🙂 Meaning both that editors are now becoming agents and agents are now being forced to oversee all the things that in-house editors used to oversee.
These days we’re outsourcing everything. Including our common sense.
I guess we all have enough distance that we can see what many publishers can’t: That they should focus on what they’ve always done well and that which is hard to outsource. Those tasks include providing advances, which enable authors to write the project; quality editing that moves the text up a notch or two–or completely saves the manuscript; creative marketing and publicity; distribution to retail outlets and warehousing of books.
As you look at the list, you can see how some of those tasks already have been in essence passed on to the author (marketing and publicity); others are outsourced (sometimes editing and publicity and even sales), which leaves the publisher looking less and less like a vital player in publishing’s future as e-books become the major way readers access books.
As a freelance editor, I would say that it is just as difficult for me to not be able to push that vision forward. I love editing, sure, but it is a bit depressing not being able to move projects forward–not exerting creative energy on a project all the way through.
Thanks for sharing!
A person who pushes out the vision to others? Brings to mind the work of God’s prophets!
Very interesting post. I’m not sure I realized how involved your editor is, though it does make sense. The others have made some wonderful comments.
Very information posts on editors. I have been fortunate to find a good editor who has helped me in leaps and bounds to improve my ms. She made suggestions and gave feedback; the way she worked with me was a case of giving me her expert opinion, rather than saying what I had written wasn’t any good and needed changing. I took most of her suggestions on board and definitely feel happier about my ms now.
CJ xx
I am an editor and in the process of building up my business as an independent publisher.
Personally, I think it’s irresponsible to let authors down in the middle of the project. Appointing a feelance editor, doesn’t mean the quality needs to suffer; it’s simply of matter of getting the editor involved.
It is also super important to appoint the right editor to a project. Know the people you work with.
Thanks for sharing this.
This blog confirmed my belief that in-house editors are vital to quality assurance. Removing them from the process seems akin to removing captains from ships. At best, those crafts will drift willy-nilly, reaching whatever destinations ever-changing currents push them towards–or they’ll float about, forever lost in a sea of mediocrity. At worst, they’ll sink. I prefer to have an experienced in-house editor at the helm to steer my writing toward its full potential, and I am saddened that the publishing revolution is tossing some valuable editors overboard.
It really sounds like an editor needs to be an amazing communicator to work with so many aspects between author and publishing and within the publishing realm itself.
Ooh, Sally – I thought the same thing, then read your comment. I feel like an editor is an agent too! Maybe an agent for one particular project. (Without replacing the author’s agent, of course.)