It started out innocently enough. A routine query dropped into my In Box. As I read, I became more disgruntled. Rather than detail the story, which encompassed one – read it – ONE sentence, the full page detailed how the manuscript had been edited to within an inch of its life and fell into the “manuscript that challenges a publisher to find a misspelled word” category.
Okay, this isn’t unique. I’ve had many query letters discuss the editing prowess of the author. But this author went on to say that since he wrote his story for a specific reason (don’t we all?) and it took years to write, that he didn’t want anyone editing his work. He asked if we ever publish works exactly as they are submitted. Shoot me now.
The short answer, of course, is no. But there’s more to it than that.
Misconception:
Many authors bite their nails that the minute the ink is dry on their contracts, we evil editors are going to slice and dice their manuscripts into a former shadow of themselves. Nothing could be more false because facts are, we don’t have that kind of time.
The story is either structurally viable or it isn’t. There have been times I loved the potential of a work but knew it needed far too much work than what I could ask of my editors. In those cases, I tell them they’re not ready for prime time and recommend they work with an indie editor. Face it; our words do not come from the hands of God. We all need editing.
Substantial Edits:
The question is; how much editing will be done? My querying author indicated that he’d concede to copy editing, but he’d feel like a hypocrite if a substantive edit was done. What he considers substantive and what I call substantive are probably two different things. My hands can’t be tied by an author’s interpretations of “substantive” edits. How does one go about defining this? At what point would the author throw up his hands at my editors and state they’ve done enough edits and won’t approve any more. Provided any publisher would be insane enough to agree to this, it’s easy to see the potential for a contractual nightmare.
Who Does the Edits? Me or You?:
This author went on to say that in his heart of hearts, he would no longer be the author and that the editor would be his co-author. He mused about the new version and whether it would be something he didn’t agree with. He feared embarrassment. Yes, this would be all well and fine, except that the authors do the rewrites. We do a page by page critique of the work and why the changes need to be made. The author’s paw prints are all over the manuscript, not ours.
We’ve paid to play:
Lastly, we’ve paid for the rights to publish a manuscript and make any necessary changes we deem necessary in order to ensure its marketability. We pour thousands into every title, and we have to protect our investment. These decisions are based on a whole team of experienced professionals, and it’s unlikely that we’re going to yield to an author’s desire not to be edited unless he’s Tom Clancy. It’s like selling your car to someone and retaining the right to tell that new owner how and where they may drive their new car. You can see where this is an unrealistic notion.
Now, does this happen where an author’s works are taken out of their hands? Yes. But the only case I personally know about focus on an extremely famous author who does great plotting and character developments but can’t write themselves out of a paper bag. Since the author has been around since the beginning of Time and has made gazillions for the publisher, the editors don’t bother the author with the rewrites – they do the rewrites themselves. It pisses the author off to no end, but, contractually, there is nothing the author can do except pocket the millions in advances and the love from adoring fans.
Conversely, are there authors whose works are pubbed without developmental editing? Yes. And like the author above, they make gazillions for their publishers and can call the shots. They are convinced their writing originates from the hands of God. It’s too bad, really, because their writing has suffered greatly, and I know many who no longer read their work. I know I don’t.
These cases are the extreme ends of the publishing spectrum. It’s done because it involves an obscene amount of money and huge publishers. If an unknown author pulled this stunt of refusing to allow edits, they’d find their backsides on the street looking for another publisher. To date, I’ve shown three to the door.
Are we all heartless? Some may think so. But, in reality, we’re very easy to get along with. It does us little good to get into a tug-of-war over edits. If an author is adamant about a particular change, we try find some common ground if we’re talking about a minor issue. A happy author is one who will stump for their book. It’s hard to sell a book if the author is uninvolved. It’s cheaper to simply let them go.
Impressions:
So, in the long run, what did this author tell me? Very little and a boatload. I knew nothing about the story but tons about the attitude. I have to make snap judgments about an author and their work because I have a hundred more just like it in my In Box. If a query letter is filled up with reasons why a manuscript should be left as written, this hints of someone who could be hard to work with.
It also tells me this author knows zip about the industry, and I’ve made it my policy to discontinue working with neophytes. If he did know the business, as he claimed, he’d never make such a presumptuous request. Any author who presumes to know more than we do about our business shows a lack of manners and education of the industry. This guy could have written “The Next Awesome Book That Will Rock The World As We Know It,” and I still wouldn’t work with him because he appears to be inflexible.
Options:
So what are the options to those who want to keep total control over their work? Print On Demand (which I call Print on a Dime) or vanity. While the trail of publication with these types are fraught with peril, it’s a given that they won’t touch your work if you make the request. Of course, no one will buy your book, either, because its inferior quality will ensure that it never sees the inside of a store or be distributed.
I recommended to this author that he self publish, meaning that he invest in the complete publication process of his book. He’d retain total control over every aspect of his book. It’s exhausting and expensive and only for the truly committed who don’t mind this being their primary business.
Always remember, Young Jedi-Authors – you will be edited.
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Posted by lynnpricewrites 
If you want the inside scoop on what floats our boats, The Writer's Essential Tackle Box is a must have. Out in November 2009.
