So you’ve signed the contract, the ink is dry, and now your book is in editing. Yay! Welllll…maybe. There are times when authors will have differences of opinion with their editor, and this can either go well or make you want to mainline Drano. Let’s face it, there are few authors who agree with every suggestion their editors bring up. Ten years in the biz has afforded me all kinds of experiences in the editor chair, so I thought I’d offer some perspective that may help you when your manuscript is under the bright lights.
Is It OK to Disagree?
YES. There have been many times where I felt something wasn’t working, and recommended it be edited out, and the author didn’t agree with the suggestion…and there’s nothing wrong with that. On more than one occasion, I’ve had authors write back to say they were very married to a section I wanted to cut. We talk about it and reach some resolution. Sometime it turns out that the scene is a key piece, but simply needs further development.
I’m good with this because I can’t appreciate the importance of a scene if it isn’t fully developed. But if you disagree with me, we can talk further to where I may see that cutting a scene would be the wrong thing to do. If you’re too nervous to say anything, then your book may suffer for it. You know your book and its intent better than anyone, so you are its best advocate during the editing phase.
How to disagree
But this isn’t to say that disagreement should take on all sorts of ugly. The editing process is a very personal, emotional experience, and authors don’t always appreciate their words being futzed with. I’ve had times when it would have been easier to invert my belly button than continue editing a manuscript.
You don’t need to shout and stamp your feet to be heard. Every editor has her process, so learn what it is and how to use it to ensure the lines of communication remain open and professional. I’m a big fan of using the Comments/Balloons in the Track Changes feature in Word. I highlight a section that I want to edit out, delete it (the Track Changes feature will show up with that section crossed out and underlined). Then I’ll highlight part of that section and add a Comment in the margin, where I say something like, “Suggest editing this section out. The scene is way too long and doesn’t go anywhere. It doesn’t enhance the chapter.”
If the author wants to comment on that, she can highlight part of that section and add her comment below mine – where I’ll see it when the edits come back to me. “I really love this scene because it’s pivotal to the plot.” We can further discuss our options.
What I love about adding comments in the margin is that it keeps things clean and clear. You’re not likely to cuss out your editor in a comment balloon. Instead, you’ll stick to the facts. What I don’t appreciate is a hysterical phone call or email about editing a scene.
How vociferously to disagree
Many years ago, I wanted to make some editorial changes to an author’s manuscript (who is no longer with us), and he fired back a very heated email, insisting that I didn’t like him. Another author refused to perform any edits because she didn’t own Word, and insisted that we edit via hard copy. Oh hell no. She’s no longer with us, either. Such toolbaggery isn’t helpful to your relationship with your editor, or the entire publishing process.
Some of my editor buds tell me horror stories of screaming matches and threats…nightmare makin’ stuff. And people wonder why we have margarita-mixing beagles…
We realize this is a nervous time for you. You’ve worked hard on your stories and don’t want them futzed with. But that shouldn’t equate to tearing out your editor’s blackened heart and nailing it to a dartboard. Whether you’re a brand new writer or one who has many books out, you need editing. Everyone does. I’m sure that Mrs. Cosmic Muffin edits the Cosmic Muffin all the time, and you just can’t go to any higher authority than that.
Keep it simple, keep it professional. Editing isn’t a personal attack on you, but merely editorial suggestions by an experienced editor who sells books for a living. It’s about trust. The more you trust your editor, the easier it is to keep it professional. If you find yourself blowing a hole in the ozone layer, ask yourself if you’re frightened to be edited and whether you trust your editor.
Trust Your Editor
A loaded bullet, to be sure. Most of the time you don’t even know your editor, so how do you know if she’s any good? Simple. You have faith in your publisher. You’ve read their books (or you darn well should have), so you have a solid idea of their quality. It’s vital that you trust your editor because theirs is the final word. The better you work together, the better the product.
I had an odd experience a few years back. I wanted to sign an author, and she wanted me to sign her, so we met for lunch. Her book was very good, but it definitely needed a strong editorial hand. When I discussed this with her, she became very protective because she was terrified that editing meant completely changing her work into something unrecognizable. I assured her that this would not only be a huge waste of our time, but there would be no point to sign her. Her agent reinforced my claims.
She was still nervous, and I decided not to sign her. If she’s this nervous now, before we even begin editing, what is she going to be like once we begin the process? It boiled down to the fact that she didn’t trust me. Then again, she wouldn’t trust anyone – and that’s a dangerous position to be in. If you have designs on being well-published, you’re going to need to place your trust in your editor. Talk to her, discuss the kind of edits she has in mind for your book. There is nothing worse than working with an author who doesn’t trust you.
Another author refused to discuss working on the ending of the book. The story was wonderful, but the ending needed tweaking. He refused. He believed his way was better than ours. We let him go. Trust. Have it, or go home.
If you find yourself in the throes of editing, and things aren’t going smoothly, then here is some additional advice.
Effective Communication/Effective Listening
Effective Communication and Listening are key during every step of production, but none more so than during editing. When I was but a wee bairn, my dad used to quote this saying around the dinner table: “I know that you believe you understand what you think I said, but I’m not sure you realize that what you heard is not what I meant.” Took me years to figure out what he was saying, but once the light bulb turned on, it has never failed to crack me up because it’s so true.
Email can screw that up faster than just about any other medium. If there is a sticking point during editing, for the love of Helvetica, schedule a Skype meeting or phone call. I adore Skype because we can go page by page and discuss questions or points. And it’s free!
Conversely, listening is an art. We get so caught up in getting our point across that we forget to listen to the other guy – and they may have very good ideas. Say your piece, then actively listen to the other guy.
Choose Your Battles Wisely
There may come a time when you see your edits and consider throwing yourself under a Waste Management truck rather than face a very big task. It’s hard to look at a sea of red and not feel that your book has landed into an editorial mosh pit. “Do I really suck that much?” No…not at all! But you don’t see it that way. You think you’ve been ripped from stem to stern, so you dig your heels in and decide to fight every single edit as a way of proving that you don’t suck. The fight really ain’t worth it because if you sucked, you wouldn’t have gotten the publishing deal in the first place.
Editing isn’t about give and take, or winning and losing; it’s about making your book fabulous. There are some edits that can be negotiated and others where there is zero wiggle room. I had an author plead with me to leave a very long scene in because it was meaningful to him. Problem is, it wasn’t meaningful to anyone else, and I insisted that it had to go. I know it hurt, but the author later told me that he never even missed the scene after reading the final edit. Yay…score one for Pricey.
The takeaway from this is to recognize the really big battles, the scenes that are hugely important. Deleting the overwritten bio of a throwaway character isn’t worth blowing a ventricle over.
Whenever I edit a scene out, I justify it in the margin comment, so the author understands my reasoning. If you want to fight for a scene or character, or backstory, then you need to justify it to your editor. “Because I really love it,” won’t fly. Won’t even float. You need to provide a solid foundation as to why you’re fighting for something to stay in. If your editor tells you it slows down the pace and doesn’t move the chapter along, then you have to justify why that isn’t the case.
That doesn’t mean she’ll buy it. Her word is final, so if you have a compelling reason for keeping something in, you gotta make sense. If you can’t, then your editor will probably rule against you and toss it. If so, let it go.
The Point of No Return
The one thing you want to avoid at all costs is arguing to the point where there’s no returning to the happy happy joy joy relationship. I guarantee that if you verbally abuse your editor (been there, done that), then you’re dead to her. Sure, she’ll edit your book to the very best of her abilities, but she will groan every time she sees your email address pop into her inbox. She won’t lift a finger to go above and beyond her regular duties…and you DON’T want that.
If you and your editor are at an impasse, then you both need to back away and cool off. Allowing things to escalate isn’t good for anyone, most of all your book. Don’t be afraid to apologize if you’ve stepped over the line. An apology is the great equalizer, and if you let your emotions run away with you, then you need to grow up, accept responsibility, and make things right. If your editor is the toolbag, then you’re going to have to grit your teeth and make the best of things. It’s very rare that the editing process is ever that contentious, but it does happen. Keep your head and emotions in check.
I’m unusually lucky. I have the most wonderful authors in the world. They are bright and talented, ask terrific questions, and make me think. But through the years, I’ve had some challenges – as any editor does – and I’ve had to swallow my tongue a few times just to keep from biting it (and the author’s head) off.
Rest assured, there will be editing differences, but it’s the author who knows how to play well with others in the sandbox who has a great time.