Let me start off by saying
this:
Most people do not enjoy
getting edited.
My very first editor told me
it sounded like I was trying too hard.
(Of course I was, I wanted to
get published.)
An accomplished writer friend
of mine put it this way the other day over lunch:
“Once you get over the
initial shock, you put your writing aside, then a few days later you pick it
back up and realize that the editors were probably right about a lot of
things.”
I can tell you this: Kim and
I, knowing how delicate editing can be, try very hard to be as gentle when
making comments and suggestions as is humanly possible.
When a writer is in the Developmental Editing stage, editors
can be extremely valuable when it comes to helping more clearly form the idea
of your book. All of you have spent time talking about your manuscript concept.
The questions we ask are designed to help construct a fuller vision of the book
you want to write. From there, a basic skeleton outline is formed, a great help
when you’re ready to tap out the first draft. When a first draft is complete,
your editors will read through it, offering suggestions on several different
things:
Order/ Structure
Does the order make sense? Will
this book be written chronologically, or begin with the crux of the story and
work its way back with what led up to it? If self-help, will it begin by
describing the problems, or offer solutions first?
Rearrangement of Ideas for
Better Flow
With the first draft, your
biggest task is just to get the ideas down. Once this is done, outside input on
the arrangement of each thought can prove to be very valuable. If there is a
‘hiccup’ in the flow, or a portion that’s too long or ill-placed, you could confuse
your readers, or lose their attention.
Any Gaps or Missing
Information
For example, if
industry-related jargon is used that the common reader won’t understand, or if
a name or idea is introduced that the reader might have trouble connecting to
the previous thoughts, such as a sudden rich uncle that was never properly
introduced into the text.
Points to Enhance
Often, there is GOLD within
the manuscript that the writer isn’t extremely aware of. A phrase, or two words put together that could
grow into a powerful paragraph. We as editors help you to see where the gold
like that is.
Narrative: choosing the
type and style, the voice you’re portraying Conversational, lecture-y, all business, authoritative, etc. We also
make sure that once you pick your style and voice, you stay true to it
throughout the manuscript. Sometimes writers tend to switch out mid-stream.
Story of "Missed It" Book
About fifteen years ago, I
read a manuscript that, in the beginning, knocked it out of the ball park. I
can still remember it, it was historical fiction, descriptive, exciting, and
had a strong female main character. She did incredible, gutsy things. Three-quarters
of the way through the manuscript, my strong main character fell in love, lost
her moxie, and turned to mush. I can’t tell you how disappointed I was, and
still am. As editors, we want to make
sure that doesn’t happen in any book.
When we get to Substantive editing, in my opinion,
it’s in that stage when a writer needs to first don their thick skin. You’ve
just pounded out that first draft, and it’s been a labor of love. You feel
you’ve put in your best effort, there has been no small amount of mental and
physical exertion, and you’re proud of what you’ve done, as well you should be.
But, in the famous words of a friend of mine in the broadcasting business: “Do
you want advice, or approval?”
Most of us, once we’ve
finished that first laborious draft, are looking for the latter. I know I
always am.
It’s an editor’s job to view
a manuscript from the angle of the
reader. Even if it’s the best story or self-help idea ever, if the
presentation is hard to read or unclear, you won’t get your message across,
which is the main goal.
The things we’re always going
to be looking out for are:
Redundancy
Are we seeing the same words
or phrases over and over again? ---Just about everyone does this to some
degree---Why is this not okay? Because readers, either consciously or
subconsciously, pick up on patterns. Once they do, the wording will begin to
lull them into disinterest, something we don’t want.
Also, the same thoughts might
be expressed more than once in different places and in different ways. This an
attentive reader will also pick up on. If we catch these within your manuscript,
we’ll comment on them. This does two great things for the manuscript: a) creates
more room for other thoughts and b) keeps things fresh.
Thesaurus: This is where the good old thesaurus can become your
best friend. You don’t want to use cliché phrases or the same old overused
words. Instead of the term ‘words’, like I just used, you could say ‘expressions’,
‘messages’, or ‘remarks’. Variety being the spice, your thesaurus is the spice
cupboard.
Tone
Does the wording go
drastically from calm to radical, or soft to dramatic in a manner that’s not
conducive to what is being said? Are there multiple exclamation points, or
words all in caps?---If the writing is strong enough, you won’t need either
exclamation points or caps, never wanting to sound like the reader is getting
yelled at or advertised to. (I repeat, strong writing does not require
exclamation points.)
Voice
Is it consistently the writer’s,
or does the personality fluctuate?
Many writers tend to ‘hide’
within their narratives, even though they feel deeply about their subject or
story. Sometimes they’ll start out being extremely open, and then recede into a
more gray, dull narrative. If we see this, we might not express it to the
author in those exact words, but ask questions and make suggestions to bring
them back out. Also, an editors’ job is not to change your manuscript so much
that you no longer see the ‘you’ in it. Quite the contrary. The other day, an
author friend told me that his book he’d had worked on elsewhere wasn’t even
recognizable after his editor got through with it. In my opinion, this is an epic editor fail.
Our job is to see to it that your voice comes through.
Three more super important
things to keep in mind while working on your manuscript:
Brevity
The best advice I ever got
from a seasoned writer: Be brief.
Say the most in the least
amount of words. Readers’ minds like this, they like the challenge of the
subtle versus the long, drawn-out, obvious sentences. Readers like to think for
themselves, and leaving nothing unsaid robs them of this.
Clarity
Often it can be difficult to
translate a thought, memory, or scene from our minds onto the keyboard. A lot
can get lost in translation, too. Try to view what you’re writing as if reading
it for the first time, and try to be considerate of your readers. If
appropriate, when describing something, try to give background. In both fiction
and nonfiction, hit as many of the five senses with your words as possible.
Sight, sound, taste, touch, smell.
Honesty
Readers are smart. They know
when someone isn’t telling the whole story, holding back. I once interviewed
the owner of a huge, very successful business, and asked him more than once how
he came to own such an empire. He was evasive. When the recorder was shut off,
he suddenly shared that he’d acquired the business through a divorce. How different that story would have been,
(and how much more authentic), had he been forthcoming. He could have stated
that something good had come from a difficult situation, and talked about how
he’d worked really hard, building what he’d gained the hard way, on his own
merits, into an even larger empire. Now that would have been a good and very
relatable story. Having to go with the content of the interview, the printed
story lacked truth and luster. When writing, in many cases you’re better off
with as much transparency as possible.
As editors, we’ll re-work
sentences and paragraphs so that your word count is decreased (because very
few people want to read an 800-page book these days). In doing this, though,
the intent is not to change the meaning at all. In fact, often when a paragraph
or sentence is pulled in with tighter writing, the meaning is enhanced.
Examples
Before edits:
Yes, that’s the beginning of it---less drama and the
less ego. But what you then discover is that you actually get bottom line
benefits.
What I encourage my clients to do is give me a list of
all the stuff that they care about in their strategic plan. What are their
goals? What are they trying to change?
After edits:
That’s the beginning of it. Less drama and ego. You
then discover that the bottom line gets the benefits.
I encourage my clients to list everything they care
about within their strategic plan. What are their goals, what are they trying
to change?
In many cases, edits are
hardly noticeable, other than the fact that the reading moves along at a
livelier pace.
First and foremost, your
editors are your friends, we’re here to help, and we want to see your book on
the bestseller list!