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The level of assumption writers have about the role of the editor in a Big 5 publishing house blows my mind.
Hmm, I feel either a blog post or extended thread coming soon.
Hmm, I feel either a blog post or extended thread coming soon.
All right, let's tackle this.
BUT FIRST, a disclaimer- I do not work at a "Big 5". My pov is based on info from my writing degree program and peers who hold these positions. None of my statements are meant by any means to discredit the genuine enthusiasm and love that editors
BUT FIRST, a disclaimer- I do not work at a "Big 5". My pov is based on info from my writing degree program and peers who hold these positions. None of my statements are meant by any means to discredit the genuine enthusiasm and love that editors
have for their jobs. Nor discredit writers and editors with great relationships and open communication between them.
I only mean to help give hopeful writers a peek behind the curtain so they know more realistically what book production looks like. So let's get to it.
I only mean to help give hopeful writers a peek behind the curtain so they know more realistically what book production looks like. So let's get to it.
1) Editors are not writing teachers. I hear constantly from sloppy writers that an editor will "fix it". Frankly, if your writing needs that much help, you're not even getting an agent. But that's another story.
Though your first tier of editing (for there are many,
Though your first tier of editing (for there are many,
ex.- line, copy, proof) will include developmental feedback, your editor is not there to teach you all the solutions. They give you suggestions, but you shouldn't expect them to teach you the art of incredible storytelling. They buy books from people who have already told an
incredible story. Therefore, editors are
2) not a creative buddy. Editors have too many authors on their plate, often 20-30 a year, to be your collaborative partner. Therefore, it is not uncommon to get radio silence from them during drafting or revision periods.
2) not a creative buddy. Editors have too many authors on their plate, often 20-30 a year, to be your collaborative partner. Therefore, it is not uncommon to get radio silence from them during drafting or revision periods.
This doesn't mean they are unreachable or don't want to be there for you. But you certainly can't expect that being a signed author means you suddenly have a whole team at your disposable for your every hiccup and worry, nor a pep rally everytime you have a great idea.
It's nice to dream that the first editor to buy your book is your forever editor, someone who will see you through your entire career. The truth, though, is a high turn over rate. Just because an editor buys your debut doesn't mean they will want your other work.
It might even be helpful to think of editors as next level agents- someone who is instrumental in the production of your book, not your personal spirit guide for the duration your writing career. Which brings me to my next point:
3) (and this one may sting a little)
3) (and this one may sting a little)
An editor works for the publisher, not for you. The ultimate goal is to get out a product that will sell. This means you are not beyond being dropped if you can't make bring your work up to snuff. Now, this isn't the editor's first choice by any means. They fail when you fail.
But your personal, creative rise to fame is not so important to them that they will support you through the learning curve if a book has you stumped. There will always be a money maker to replace you. So the hustle is real. Though you can CERTAINLY develop an incredible
relationship with your editor and learn from them, the performance structure of the relationship certainly does lean more toward employer to employee since they work for the ones who are fronting money for the entire thing.
Now, what's the take away from all of this?
Now, what's the take away from all of this?
1) It is 100% worth it to put in the time to build strong relationships with fellow authors Yes, you do meet new people and have a team on your side when you traditionally publish. But you are not the only author in the machine. Therefore, a lot of your creative time will still
be in isolation. Having friends in the industry, whether fellow authors, writing resource leaders, or freelancers like myself, is critical to your writing health (unless you're a loner who prefers it that way.) THESE are the people who will support you through drafting, help you
develop your stories, listen to your problems, emotionally support you through the journey, and provide you an audience to test yourself on. We somehow delude ourselves into thinking those pre-debut assets are obsolete once we are set to publish. But the truth is the opposite.
2) This may mean continual need for freelance assistance if you are a writer who finds it impossible to draft without personal editorial guideance. So many people balk at the idea that someone would "need" to hire editorial help prior to querying, let alone while under contract!
You absolutely do NOT need to hire an editor to be successful. But there are many people who do. That is not a bad thing. If they have the means, then please cheer them on and be supportive. It is their journey and not everyone thrives in an isolated setting, nor has
friends or free connections that provide them the level of instruction they need. There are loads of writers who have phenomenal stories but struggle with exposition. This is when a freelancer can be extremely valuable and help them produce a book poilshed enough to
catch an agent and editor's attention, before and after contract.
3) (and lastly) Enjoy the hell out of drafting and brainstorming with your writing circle. As so many successful authors have claimed- this is the best and more fun part. It's all business from there on.
3) (and lastly) Enjoy the hell out of drafting and brainstorming with your writing circle. As so many successful authors have claimed- this is the best and more fun part. It's all business from there on.
So don't think that Twitter games are stupid or that being involved in the #WritingCommunity is a waste of time. Look around you. These people are the ones who will have your back when publishing turns out to be more stressful than you anticipated. Write all the ideas you want.
Explore crazy plots that may never work. Doodle out story sketches. Make aesthtic boards. Create a project playlist. Do whatever brings you pleasure because this is where the creative playground is at. Publishig your book is an INCREDIBLE thrill. But the publishing process won't
hold you on the bad days. It won't lift you up when you're tired. It's the people you meet along the way and the ones you have now that will be your sunshine. 
If you'd like further reading, you may enjoy this article-- https://www.chronicle.com/article/The-Author-Editor/244352
And if you'd like to throw a thank-you my way for putting in the time for this thread-- https://ko-fi.com/jldill
