I’m pretty good at diagnosing both narrative trouble spots and problematic wording. Over the years, I’ve had tons of practice, having found plenty of both in my own work.
Joshua and I are done reading slush for the anthology and have selected those stories that will appear in the collection. Now we are on to the actual editing of the individual stories. I’m still relatively new to editing. Stew will be my second anthology, after last year’s Temporally Deactivated (also from Zombies Need Brains, also coedited with Joshua). I am still learning about the process, still gaining confidence in myself. Over the years, I have become pretty good at editing my own work (though NEVER to the exclusion of having outside editors), but editing the work of others is different, and challenging in unique ways.
The edits Joshua and I do on these stories is a combination of developmental editing and line editing. For those unfamiliar with the terms, a brief pair of definitions: Developmental editing focuses on improving story elements and larger narrative issues. Edits of this sort address structure, pacing, character arc, and a host of other matters relating to storytelling. Line edits, on the other hand, deal with issues of prose, syntax, concision, clarity, word choice, etc. It is, in a way, smaller in scope than developmental editing, though it is no less important to the ultimate success of the story.
For me, as a newcomer to editing, the challenge of both line editing and developmental editing does not lie in spotting the things that need fixing. I’m pretty good at diagnosing both narrative trouble spots and problematic wording. Over the years, I’ve had tons of practice, having found plenty of both in my own work.
Rather, the hardest part of editing for me has been trying to help authors fix problems in their stories while preserving their intent and their voice. The best editors I’ve worked with over the course of my writing career are those who help me make my work as strong as possible without making it any less my work. Identifying problems remains roughly the same, whether the issues are in my stories or the stories of others. Sure, it’s possible that a “problem” I see in another author’s fiction might be something they intended to do. The fact is, though, if it doesn’t work, it still needs to be fixed.
And that’s the hard part: coming up with solutions that remain true to the author’s overall intent, finding alternate wording that will fit seamlessly with the author’s style and approach, suggesting changes and fixes that make the story, as conceived, as good as it can be.
I’m still learning to do this well. It takes practice. It demands that I ask myself again and again if the change I’m suggesting is in keeping with the author’s vision and intent. The author-editor relationship is built on trust, and, speaking now as an author, I can say with confidence that nothing undermines that trust faster than the sense that the editor’s comments are making my story into something I don’t want it to be.
Receiving editorial feedback is always hard. As I’ve said before, just once I would love for an editor to come back to me with one of my manuscripts and say, “David this is perfect; don’t change a word.” But that’s never going to happen. I have never seen a perfect published book, much less a perfect manuscript. I’ve certainly never written either. Let’s be frank: It sucks having the flaws of our creative efforts pointed out to us. That, though, is the job of an editor. They/we don’t identify problems to be cruel, or to show how smart we are, or to engage in one-upmanship.
They/we do it to help authors realize the fullest potential of their stories and books. That may sound trite, like the worst sort of cliché, but it’s true. And early in what I hope will be my continuing growth as an editor, I am learning to do this.
Wishing you all a great week.