Working with your editor on book revisions
Since I'm doing the final proofing on Armed & Magical this week (and probably into next week), I thought I'd tell you about the book editing process from my point of view. Today I'll talk about working with my editor Anne Sowards to edit manuscript content. Tomorrow I'll tell you what's involved with copyeditors and proofreaders. Thank you, Tia of Fantasy Debut for the topic suggestion! ; )
The Editorial Letter: Those words are guaranteed to strike fear into the heart of a new novelist. It did me. Mainly because I had no idea how extensive her suggestions were going to be. After I'd turned in MLTF, my editor (the gracious and ever-diplomatic Anne Sowards) read it again. The first time she read it was to decide if she wanted to buy it (she did). The second time was a slow read with her "editor hat" on. This is when she complied the "editorial letter" in which she suggested "big picture" things to tighten up the book and basically make it better. Then she did a list of questions referencing specific pages. The editorial letter for MLTF was six pages, single spaced. BTW -- Before MLTF was even sent out on submission, I got the same thing from my agent Kristin Nelson. So I went through this process twice -- and the final result was more than worth it. These ladies know what they're doing.
Something to know about your agent or editor's suggestions: they told me that I was the author and that the final decidion was mine. HOWEVER, I knew that these ladies knew what they were talking about. Anne Sowards isn't a Senior Editor at Ace Books because she's cute (and she is). The lady works with some of the top authors in the fantasy field; she knows what she's talking about, and she is GOOD. I'd be five times an idiot not to take her suggestions.
But at the same time, Anne (if she weren't an editor, she would have made a fine diplomat), called her proposed edits "suggestions" and said that if she was off base or had misinterpreted something, that we could work together to find the solution that would be best for the book. That's the kicker right there: what is best for the book, what would put the best possible book on the shelves. It wasn't about us, it was about the book. Of course, Anne hadn't misinterpreted anything, she was right on target (and she knew it). I think there were only two points that I disagreed with. I detailed my reasoning and she was cool with leaving it the way it was.
Her main suggestions revolved around shortening the book to about 90-100K words. To do that, she suggested cutting a subplot or two, to not only shorten the book but to make the main plot tighter. And in cutting subplots, I eliminated some characters, and strengthened the roles of others.
I've generally gotten my editorial letters on a Thursday or Friday. I think editors do that on purpose. It gives the author the weekend to absorb and ponder the suggestions -- and to get any freaking out done by Monday morning, so they can respond in a sane and professional manner when they send that email or make that phone call. When I got the MLTF editorial letter, I thanked Anne, thanked her for the detailed suggestions (and she left no stone unturned, believe me. Like I said, she's GOOD), and told her that I'd get back to her on Monday morning with any questions. It's important not to dawdle on revisions. Your editor will want a pretty quick turnaround. But it's also important to take a few days to let your subconscious absorb it all before you get to work.
And not every book is the same. The editorial letter for MLTF was six pages. For Armed & Magical, Anne had two questions which I was able to answer by adding a sentence and tweaking a paragraph. Those were the ONLY questions. No changes whatsoever. Yep, my jaw stayed on the ground for a day or so. She sent the book directly to the copyeditor. That'll be tomorrow's blog: the next step in the editing process -- what your publisher's copyeditor does.
Coming up on Friday: When I'm on deadline and cooking dinners, I always make a double batch so I can freeze part of it. That way, Derek and I can have a good (but quick) meal when I need to get up to my office to work. So every Friday for the next month or so, I'll post "Recipes for feeding your family while you're on deadline." I'll post my favorites. And even if you're not a writer on deadline, having something that you can cook and freeze some for later is great time-saver. This Friday, I'll give you my recipe for Cincinnati Chili -- or as Derek and I call it, Chocolate Chili. Yep, it's got chocolate in it, and it is decadent. ; )
The Editorial Letter: Those words are guaranteed to strike fear into the heart of a new novelist. It did me. Mainly because I had no idea how extensive her suggestions were going to be. After I'd turned in MLTF, my editor (the gracious and ever-diplomatic Anne Sowards) read it again. The first time she read it was to decide if she wanted to buy it (she did). The second time was a slow read with her "editor hat" on. This is when she complied the "editorial letter" in which she suggested "big picture" things to tighten up the book and basically make it better. Then she did a list of questions referencing specific pages. The editorial letter for MLTF was six pages, single spaced. BTW -- Before MLTF was even sent out on submission, I got the same thing from my agent Kristin Nelson. So I went through this process twice -- and the final result was more than worth it. These ladies know what they're doing.
Something to know about your agent or editor's suggestions: they told me that I was the author and that the final decidion was mine. HOWEVER, I knew that these ladies knew what they were talking about. Anne Sowards isn't a Senior Editor at Ace Books because she's cute (and she is). The lady works with some of the top authors in the fantasy field; she knows what she's talking about, and she is GOOD. I'd be five times an idiot not to take her suggestions.
But at the same time, Anne (if she weren't an editor, she would have made a fine diplomat), called her proposed edits "suggestions" and said that if she was off base or had misinterpreted something, that we could work together to find the solution that would be best for the book. That's the kicker right there: what is best for the book, what would put the best possible book on the shelves. It wasn't about us, it was about the book. Of course, Anne hadn't misinterpreted anything, she was right on target (and she knew it). I think there were only two points that I disagreed with. I detailed my reasoning and she was cool with leaving it the way it was.
Her main suggestions revolved around shortening the book to about 90-100K words. To do that, she suggested cutting a subplot or two, to not only shorten the book but to make the main plot tighter. And in cutting subplots, I eliminated some characters, and strengthened the roles of others.
I've generally gotten my editorial letters on a Thursday or Friday. I think editors do that on purpose. It gives the author the weekend to absorb and ponder the suggestions -- and to get any freaking out done by Monday morning, so they can respond in a sane and professional manner when they send that email or make that phone call. When I got the MLTF editorial letter, I thanked Anne, thanked her for the detailed suggestions (and she left no stone unturned, believe me. Like I said, she's GOOD), and told her that I'd get back to her on Monday morning with any questions. It's important not to dawdle on revisions. Your editor will want a pretty quick turnaround. But it's also important to take a few days to let your subconscious absorb it all before you get to work.
And not every book is the same. The editorial letter for MLTF was six pages. For Armed & Magical, Anne had two questions which I was able to answer by adding a sentence and tweaking a paragraph. Those were the ONLY questions. No changes whatsoever. Yep, my jaw stayed on the ground for a day or so. She sent the book directly to the copyeditor. That'll be tomorrow's blog: the next step in the editing process -- what your publisher's copyeditor does.
Coming up on Friday: When I'm on deadline and cooking dinners, I always make a double batch so I can freeze part of it. That way, Derek and I can have a good (but quick) meal when I need to get up to my office to work. So every Friday for the next month or so, I'll post "Recipes for feeding your family while you're on deadline." I'll post my favorites. And even if you're not a writer on deadline, having something that you can cook and freeze some for later is great time-saver. This Friday, I'll give you my recipe for Cincinnati Chili -- or as Derek and I call it, Chocolate Chili. Yep, it's got chocolate in it, and it is decadent. ; )
posted by Lisa Shearin at
8:05 AM
2 Comments:
It'll be such a relief to have the guidance of an agent and editor! Before acceptance, writers are shooting blindly. We learn all we can and take our best shot.
I'm looking forward to those recipies! I hate to cook. Anything I can do to make it fast and easy is cool with me.
;)
And I've been blessed to have an editor and agent who "get" my book and what I'm trying to do. Since we're all on the same page, it makes everything so much easier -- I know I can trust their instincts completely.
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