Hello and welcome to the third part of an ongoing series. It is my earnest attempt to document the process of composing a novel in the hopes that it may inspire others to do the same. While I think this series will be interesting to all readers, be aware that it is going to get pretty in depth into the writing process. (I also hope to gain further insight into how I come up with this stuff.)
(For those who want a refresher part one - Idea and Outline is here, and part two - Drafting is here. And “segment one” of this Editing series can be found here.)
Editing. I am going to continue shifting gears away from my newer projects in favor of my current manuscript, Observe & Detach. In the previous segment I queried one of my editors, Libby Copa. For this bit I wanted to get the opinions of my “other” editor, Anne Nerrison. Anne originally worked with me on the second novel I published through North Star Press, Last Man on Campus. While most of the initial heavy lifting on that manuscript was done by Libby, Anne was instrumental in making sure it was a great book. She has now started her own editing venture, Inkstand Editorial, and has worked on a short story of mine. I asked her a similar set of questions as I did Libby.
First was about the editing process itself, and how she sees it: “In all cases, I see my job as helping make the book the best it can be (and by extension in some cases, help the author become a better writer). Certainly this sometimes means fixing errors in grammar and punctuation, but sometimes it's querying word choice, working to develop plot points, or questioning character development and/or motives. The latter cases I don't see as errors, but rather stylistic choices by the author or elements that could be developed further or in a different way, or viewed in another light.”
I also wanted to ask her about the “trust” issue like I did with Libby, because I have had to trust Anne’s judgement over the years. With two brilliant editors to work with, sometimes it becomes a matter of learning how to trust each voice. I want to highlight this portion of her answer:
“Trust can also lead to good discussions about manuscripts and suggested changes. I want writers to know that I'm editing with the book's (and by extension, their) best interests in mind. My goal is always to help authors, and I want to know what's helpful and what's not. If I'm not helping an author, then I need to look again at what I'm doing and figure out how to be a more effective editor. And my changes are not always correct; I'm not infallible, and my mentor taught me that if there's one good way to write something, there's a thousand.”
In other words, if I may be so bold to interpret this, we authors don’t always have to follow the course our editors set down for us, and in fact this is a crucial part of our own work. While most of the time the editor will conceive of a better or more efficient way of how to set down a particular passage, it’s up to the writer to actually do it.
This was a struggle I had with Libby for quite a while. I almost thought I had some kind of a rule for it: 80/20, in that eighty percent of what the editor said should be changed was worthwhile, and twenty percent (or less) should be your own discretion. Here is how Anne sees her role now that she has her own editing business:
“As a freelancer working largely with indie authors, I leave all changes up to the writer. I have no control over the final, printed copy, so I have no say in how much of my advice an author takes. Of course I hope they'll take my changes and comments into consideration, but the writer knows their own work better than I do, and I know there will always be a few changes I suggest that the writer feels don't fit the story as they see it.“
Working with Anne on that short story, we used track changes (generally thought of as a Word application but can be used in free programs like Libre Office) and she highlighted portions of the text she thought were confusing, or needed cleaning up. But she made sure to note that I didn’t have to take a single one of her corrections, even though most were quite warranted.
I also want to include some of Libby’s thoughts on this topic, because I didn’t get to them last time. Here is how she considers her role:
“I try and review the story that the writer is trying to tell (not the story I want them to tell) and provide feedback that aligns with that. All decisions are made by the artist, this is their story-- I can only hope they are being thoughtful when they reject suggestions, that they consider why I took time to point something out, and that they can justify to themselves and future readers why they do not make the change.”
I think that is a great summation of the relationship, and why it’s so crucial to find an editor who can give you the space as an artist to tell your story. Even better if you can find two such people who are so great at their jobs!
To that end, since last time I showed off a little of my manuscript and how the introduction has changed, I wanted to post some more of the first chapter for those who have interest. I’ve been talking/writing about this book for three years, and Libby has been hard at work over that time showing me how to make it better. While I still plan on sending her another draft by the end of this year, the text is much stronger with her suggestions.
So without further ado, here is another portion of the first chapter of Observe & Detach:
The day had not started promising. VP and head accountant Phil, thick mustache waving as he berated, enlightened me on the finer points of precision within our accounting database software. By “started” I mean eleven thirty, because Phil never got to the office earlier than that. As head of operations, he was a cranky bastard.
“Hello there, Mr. Walter. You got a minute?”
“Sure, Phil. What's up?”
“I was running your key inventory numbers this morning,” he said, slapping down several printed-out pieces of paper. This was a favorite tactic: producing evidence to the accused so they'd fess up. I once saw him do this to my co-worker Kari over a messed up store order that was probably Mona's fault. “You're off on your lock box inventory count.” Phil's mustache twitched in revulsion at me.
“Oh really? Sorry about that.”
“Yeah, you were off by five whole units. It's not a big deal since you're still new to some of this. But we gotta make sure those numbers add up. Signal Corp, for all their bullshit, makes up a huge portion of our revenue. You outrank Mona over there in the store big time when it comes to money flowing in here from agent purchases of these damn things. We have to make sure our numbers are correct.”
“I know,” I said, averting my gaze. “I'll keep a closer eye on them.”
“Make sure you do. I don't want to have to fix it every month. Just count 'em right the first time. And be accounting for those defective boxes you're sending back. Those were also wrong.”
“I'll do that,” I said.
“Thanks, Mr. Walter.” He grabbed the spreadsheets.
“The other thing I wanted to bring up was attitude,” Jack continued. The light from his office window bounced from his gray head, which stretched to black toward the bottom by his earlobes. “I haven't noticed this myself, but others tell me you may not be coming up to the front counter with the greatest...gusto. I'm not saying you have to be like Kari. She can become too much in a hurry. Just be glad to see the agents walk in here. You know, like family. Make sure to smile, make sure they are satisfied with their encounter. We are here to serve them, you know?”
I wasn't feeling restrained after what happened the rest of the day, so I made a mistake.
“Well, perhaps if you would come out of hiding from your office once in a while instead of hearing the gossip from Mona, you'd know what I actually do around here.”
He gave me his best vacant stare, then closed his mouth. “Excuse me?”
“I-uh, look, that came out wrong, but...”
“I don't go into my- I, uh, I don't do that. You know it. I'll ask you not to speak to me in such a manner, Walter.”
“I'm sorry, Jack.”
“It's all right. You haven't been here long enough to know how this place works. Mona and I go back a long way. You also don't know the full story on Betty. You don't know enough about anyone at this point, except to show respect.”
“I'm sorry,” I said again. I felt my face flush.
“You're damn right. Now, that being said, it's important for us that you want to be here, Walt. That you are happy being here. That's important.”
“Well, I do want to be here.” It was better than a series of restaurant gigs over the past half-year.
The discussion devolved into a twenty minute soliloquy on his cabin in Grand Marais, then into the proper way to clean a duck carcass. I stared out the window into the parking lot and watched our CEO Alan Dunbar leave, an hour and a half before we closed. His dark green hybrid SUV was parked as usual in the nonexistent spot under the oak tree.
John Abraham is a published author and freelance journalist who lives in the Twin Cities with his wife Mary and their cats. He is writing a speculative dystopian novel and is seeking representation and a publisher.