I’ve been traditionally publishing my
writing for nearly thirty years now, and in that time, I’ve worked with a lot
of different editors. I mean a lot. It’s not always fun. I think most
writers would like to submit their work to an editor and be told that not only
is it going to be published, it’s brilliant and perfect and doesn’t need a
single thing changed. (I know I do!) But a good editor can make your work
better, what a friend of mine once referred to as “polishing the diamond.” A
bad editor, though, can be a nightmare to work with. Luckily, almost all of the
editors I’ve worked with over the years have been good ones, and even the ones
that were less-than-good weren’t that bad (although it may not have
seemed that way to me at the time). Let’s talk about the different kinds of
editors you might encounter in traditional publishing along with strategies for
working with them. (I suspect much of this information will also apply to
self-published writers who hire freelance editors to get their work in shape,
but as I’ve never gone that route myself, I don’t know for sure. So if you’re a
self-published writer, take the following information for whatever it’s worth.)
First
off, traditional publishing is a collaborative venture. The writer collaborates
with a publisher, and together they bring the writer’s work to the public for
mutual artistic and commercial benefit. Both parties have a vested interest in
making the work the best it can possibly be, but they don’t always agree on the
ways to accomplish this goal. Every editing experience is an artistic
negotiation, and compromise is necessary on both sides. If you’re going to go
the trad publishing route, you need to accept this. You’re choosing to
collaborate, and if you’re not okay with that, then self-publishing is a better
path for you. Collaboration does not mean an editor is your boss and you
have to do everything they say, but the reverse is also true. Editors are not
your employees. You’re partners, and you both need to approach the writer-editor
relationship as such.
The vast majority
of editors I’ve worked with have helped improve my work, in ways both large and
small. In my experience, a good editor should possess the following qualities:
·
A
deep understanding of narrative and how different narrative elements work
together in a story.
·
Expertise
in the genre of a writer’s work.
·
An
ability to understand what the writer is trying to accomplish with their story.
·
An
ability to figure out the best way to help the writer accomplish their goals.
·
Strong
language skills. (Although much if not all of the grammar and sentence-level
editing may be left to a copyeditor.)
·
An
ability to balance the writer’s concerns with those of the magazine or
publishing house.
·
A
clear understanding of the dividing line between the writer’s job and theirs.
·
An
ability to communicate clearly and succinctly about what they think should be
changed in a manuscript.
·
Knowing
how not to be overly prescriptive. If they think there’s too much exposition in
a scene, they’ll say “Cut back on the exposition here” and leave you to figure
out exactly how to do that since you’re the writer.
·
Having
realistic expectations of how much work a writer can accomplish in a given
time.
Here are some different types of editors
I’ve encountered during the course of my career. Although maybe I should say
different editor experiences, since my working relationship with a
specific editor could’ve been very different from that of a different writer.
Also keep in mind that an individual editor can fit into multiple categories.
The Non-Editor
This is an editor that doesn’t do anything
with your manuscript. It goes straight to a copyeditor or, sometimes, straight
to print without any editing whatsoever. This may sound great – no changes to
make! – but this editor isn’t helping to improve your story, and your work may
be published with errors, some small, some large.
The Minimalist
This editor only makes a small number of
suggestions, and they’re often on the micro level, dealing with small plot and character
inconsistencies and unclear phrasing. If they spot a big problem, they’ll let
you know, though. Maybe this editor is too busy to do a more in-depth edit, or
maybe your story is just that good!
I’m
the Editor So I Have to Suggest Changes, Whether or Not They’re Needed
This type of
editor suggests changes because they think they have to, regardless of whether
a manuscript needs those changes. They feel they have to do this to justify
their job. These suggestions are often arbitrary and don’t necessarily make the
story better, just different.
The Brainstormer
This editor believes a story should be a
joint creation of theirs and the writer, that editor and writer are true
partners. They like to collaborate in the early stages of a story’s creation,
helping to shape it, but after that they’ll step back into a more traditional
editorial role. This is especially true with media tie-ins, which by their
nature are more highly collaborative.
The Would-Be Collaborator
This type of editor is also a
brainstormer, but they continue trying to be a co-writer on both macro and
micro levels throughout the entire process of getting a story ready for
publication. This can be super frustrating, especially when the two of you have
different ideas of how the story should be written. The worst version of this
type of editor is the one that actually rewrites some of your prose without
asking permission or even telling you that they’re doing it. Luckily, this
extreme type of Would-Be Collaborator is rare.
The Frustrated Writer
This type of editor tells you how they’d
write the story rather than helping to improve the story you’ve already
written. This is because they’d rather be a writer than an editor, and they may
eventually leave editing to give writing a shot (while perhaps still freelance
editing as well). This is one of the worst types of editors to work with
because they aren’t acting in an editor’s role. Instead, they’re trying to
force you to accept them as a co-writer, or worse, as the “boss” writer to whom
you must defer. I don’t believe these editors are consciously aware of what
they’re doing, but that doesn’t make them any easier to work with.
The New Editor
This is someone so new at their job that
they don’t have a clue what they’re doing. They’re learning as they go,
experiencing growing pains along the way, and you get to experience those pains
along with them. There’s not much you can do except have patience. New editors
won’t tell you they’re inexperienced. They want you to have confidence in them,
and they don’t want you to ignore their suggestions because they’re new, so you
may have to figure out for yourself that you’re working with someone who’s new
to the job.
The Editor with Unrealistic Expectations
“I need you to rewrite the entire book
from beginning to end. Can you get a new draft to me in two weeks?” This could
be the sign of someone who’s a new editor and doesn’t have much, if any,
experience at how long major revisions can take. Or it can be a sign of an
editor that pushes writers to get revisions in as fast as possible to make
their job easier.
The Overworked Editor
This editor is doing the job of three or
more people. While they want to give you their best efforts, they’re exhausted
and their focused is scattered. They may give you only a cursory edit and take
a while – maybe a long while – to get to you about questions.
The Editor Who Takes Forever to Give You
Feedback and Needs Changes Tomorrow
This could be because they’re also an
Overworked Editor, but it could be that they’re simply a procrastinator or not
a good judge of how much work they can accomplish in a specific timeframe, and
they’ve gotten behind. Or they might be having personal issues that have slowed
their productivity. Whatever the reason, they wait until the last minute to get
changes to you and push you to finish them ASAP.
The Editor Who Gives You Contradictory
Feedback
For example, I was once working on a pitch
for a novella about a beloved TV character. The editor told me they liked the
character to be portrayed somewhat humorously, as he sometimes was shown in his
series. When I sent in a proposal, the same editor told me that the character
should be portrayed seriously, and I should rework the proposal. At that point,
I was out. Contradictory feedback from an editor is a huge red flag for me. I
don’t want to waste my time giving an editor what they say they want only to
have them turn around and tell me that wasn’t what they wanted in the first
place.
The Editor Who Changes Their Mind
This editor makes a suggestion, you
implement it, and then once they see the new text, they decide that change
doesn’t work after all and want to you revise it again, a different way this
time. If they do this a lot, it can mean a great deal of rewriting on your
part. I once pitched a proposal for a Star Trek novel to an editor. They
loved it but asked for revision after revision after revision, until the story
concept bore little resemblance to what I’d originally pitched, and then they
decided the new concept wasn’t working and cancelled the project.
The Editor Who Can’t Make Up Their Mind
This can be an
editor who’s very indecisive by nature, or they can also be an Editor Who Gives
Contradictory Feedback or an Editor Who Changes Their Mind. These editors can’t
effectively guide writers because they can’t decide where they want to take the
manuscript.
The Editor Who Doesn’t Know What They Want
This editor knows that something about
your story should be different, but they’re damned if they can tell you what it
is. They may ask you to take another pass at the manuscript in the hope that
you’ll somehow magically fix what’s bothering them, but of course there’s no
guarantee it’ll work.
The Editor Who Thinks They Are the God of
Literature
These are editors with ego, people who
consider themselves experts on literature and storytelling, and who believe
they could write your story better than you, if they were to lower themselves
to actually produce writing. They often look upon writers as lesser beings who
only exist to provide raw, rough material for them to shape into a sparkling masterpiece.
I’ve managed avoid working with editors like this so far, but I know they’re
out there. Hopefully, I can manage to keep avoiding them for the rest of my
career.
The Editor That Doesn’t Get Your Work
I can write some damn weird stuff,
especially in my short fiction. A lot of this work is experimental in nature
and can be very surreal and symbolic. I’ve occasionally had editors commission
a story from me, but when they get it, they don’t understand it. (This always
makes me wonder why they asked me to do a story for them in the first place.
Weren’t they familiar with the kind of weird-ass horror/dark fantasy I often write?)
These editors try to get me to turn my bizarre story into an ordinary prosaic
one with clear cause and effect, etc. Sometimes making a few strategic changes
satisfies them, and when it doesn’t, I offer to write a new story. I won’t turn
one of my weird stories into a mundane one for them, though. I’ll look for a
different market for it.
Too Many Editors
It’s rare, but sometimes you get multiple
editors working on your manuscript. This is especially true when writing tie-in
fiction, when someone representing the IP holder also weighs in on your work.
The different editors can have different opinions about what changes to make,
and you may end up with a lot of suggestions and no idea which ones to take and
which to reject.
The Editor That Can’t Clearly Communicate
What They Want
This editor knows what they want but they
are unable to state it in a way that is 100% clear. If you ask for
clarification, they usually can give it to you, though.
The Editor That Can’t Succinctly
Communicate What They Want
This editor will write you a long,
detailed paragraph to tell you that you should delete a sentence in your
manuscript. Sometimes it’s difficult to tell exactly what the editor wants when
you read these unnecessarily detailed suggestions.
The Editor that Overcommunicates and
Overwhelms
This editor bombards you with so much
feedback that you may not be able to figure out what to do with it and may feel
overwhelmed. This type of editor is often one who also can’t communicate
clearly and succinctly, and they’re often new at their job. They haven’t
learned how to be clear and succinct yet (and maybe they never will). I’ve had
a few editors like this, ones who will send me a long bulleted list of changes,
numerous track changes comments in the manuscript, and long,
chapter-by-chapter breakdowns of what needs to be fixed. It can be a nightmare
trying to sort through this mess and figure out what you need to do to revise
your manuscript.
Tips for Working with Editors
·
Everything’s negotiable. Editors make suggestions;
they don’t deliver commandments. If you don’t agree with an editor’s suggestion,
you can try to find a different way to solve the problem that’s been
identified. Or you can try to brainstorm a different solution together.
·
Don’t ignore suggestions because you’re lazy or
stubborn.
No one told you to traditionally publish. You sought out such a relationship.
You wanted to work with an editor, so work with them.
·
Don’t assume an adversarial stance. The editor isn’t your enemy (even if it feels that way sometimes). The
editor is your ally, and they care as much about your story as you do. (At
least, they should.)
·
Pick and choose your battles. I had a friend
who once had a knock-down drag-out with an editor over the use of a semicolon
in a story. You don’t want your working relationship with an editor to be one
of constant conflict, especially over small stuff. If you have to dig in your
heels and refuse to make a change, it should be over something important to
your story, something you feel will significantly damage the story if it’s
changed.
·
Ask for clarification. If an editor’s
suggestion isn’t clear, ask them to explain it more fully.
·
Try to figure out what they’re really saying. I had a tie-in
editor once tell me that fantasy novels shouldn’t contain humor in them. I knew
this was bullshit, but I also knew the comment had to come from somewhere.
Eventually, I figured out that two characters I created for comic relief were
too silly for the editor. I toned down the silliness, and the editor was
satisfied. Always look for the comment behind the comment, one even the
editor might not be aware of.
·
Don’t procrastinate. It’s too easy to put off
revisions because then you don’t want to do them. It’s like being a student who
doesn’t want to start working on a paper. Get started on your revisions as soon
as you can and work steadily on them until you’re finished.
·
Figure out how not to be overwhelmed and stressed. Make a revision
plan for yourself. Work on making the easiest changes first. Keep your revision
sessions short. Take breaks (especially if you find yourself starting to get
frustrated and angry).
·
Don’t make your editor’s life more difficult. Don’t make your
editor miserable by constantly arguing with them, and don’t constantly bug them
for more feedback and clarification. They have other work to do besides
babysitting you as you revise.
·
Accept reasonable deadlines for revision. If the revision
deadline the editor requests doesn’t seem doable to you, try to negotiate a
different deadline. Both of you might have to compromise, but hopefully
together you’ll find a deadline that will work.
·
Don’t submit changes too early. If you do
something fast for an editor, they’ll expect it just as fast the next time, if
not faster. Turning in revisions at the deadline is fine. Turn them in a day or
two early if you want, but don’t turn them in weeks early, even if you can get
them done in that time.
·
If you need more time to do your revisions, ask. You might not
get it. Maybe your book already has a place in the publisher’s production schedule.
But it never hurts to ask. Just don’t wait until the last minute to ask for
extra time. Ask as soon as you think you may need an extension, but be prepared
to finish your revisions by the originally deadline if necessary.
Good editors are worth their weight in
gold, but even the best editors aren’t perfect. Remember your editor is a human
being too, and do your best to find a collaborative working style that’s
effective for you both. Don’t be afraid to stick up for yourself, though.
Remember, the editor isn’t a boss and you’re not an employee. The two of you
are creative and business partners, and you both should behave as such.
DEPARTMENT OF SHAMELESS SELF-PROMOTION
Halloween
Kills: The Official Movie Novelization Out Now
My
novelization of the latest movie in the saga of Michael Myers – Halloween
Kills – came out in the USA this week. It’ll be another week or so before
it’s available in the UK. For some reason, the Audible version dropped a week
early, so some fans got a chance to check out the book early. I had a blast
writing this, and after waiting a year-and-a-half for the book’s release, I’m
anxious to learn what people think it of it. The film’s reviews have been
mixed, but so far the response to my novelization has been mostly positive and
enthusiastic. So if you saw the movie and loved it, this book is for you, and
if you hated the movie, then the book is really for you, since it fills
in a lot of the gaps in the story. Ordering links are below.
Minutes
after Laurie Strode, her daughter Karen, and granddaughter Allyson left masked
monster Michael Myers caged and burning in Laurie’s basement, Laurie is rushed
to the hospital with life-threatening injuries, believing she finally killed
her lifelong tormentor.
But
when Michael manages to free himself from Laurie’s trap, his ritual bloodbath
resumes. As Laurie fights her pain and prepares to defend herself against him,
she inspires all of Haddonfield to rise up against their unstoppable monster.
But as a group of other survivors of Michael’s first rampage decide to take
matters into their own hands, a vigilante mob forms that sets out to hunt
Michael down. Evil dies tonight.
Amazon
Paperback
Amazon
Kindle
Audible
Barnes
& Noble Paperback
https://www.barnesandnoble.com/w/halloween-kills-tim-waggoner/1139229840?ean=9781789096019
NOOK
Book
https://www.barnesandnoble.com/w/halloween-kills-tim-waggoner/1139229840?ean=9781789096194
Planet
Havoc: A Zombicide Invader Novel
Scoundrels
and soldiers band together to survive the onslaught of alien-zombies spreading
across the galaxy in this riotous adventure from the bestselling game,
Zombicide: Invader
A
deserted R&D facility tempts the hungry new Guild, Leviathan, into sending
a team to plunder its valuable research. The base was abandoned after a
neighboring planet was devastated by an outbreak of Xenos – alien zombies – but
that was a whole planet away... When the Guild ship is attacked by a quarantine
patrol, both ships crash onto the deserted world. Only it isn’t as deserted as
they hope: a murderous new Xeno threat awakens, desperate to escape the planet.
Can the crews cooperate to destroy this new foe? Or will they be forced to
sacrifice their ships and lives to protect the galaxy?
Kindle
Barnes & Noble
Paperback
https://www.barnesandnoble.com/w/planet-havoc-tim-waggoner/1140135739?ean=9781839081248
NOOK Book
https://www.barnesandnoble.com/w/planet-havoc-tim-waggoner/1140135739?ean=9781839081255
We
Will Rise
My
next original horror/dark fantasy novel for Flame Tree Press is due out this
July and is now available for preorder. No cover image yet, but I’ll share one
when I get it. If you enjoy my dark surreal horror, you’ll like this tale of a
city plagued by a ghost apocalypse. Here’s a synopsis:
In
Echo Hill, Ohio, the dead begin to reappear, manifesting in various forms, from
classic ghosts and poltergeists, to physical undead and bizarre apparitions for
which there is no name. These malign spirits attack the living, tormenting and
ultimately killing them in order to add more recruits to their spectral ranks.
A
group of survivors come together after the initial attack, all plagued by
different ghostly apparitions of their own. Can they make it out of Echo Hill
alive? And if so, will they still be sane? Or will they die and join the ranks
of the vengeful dead?
Amazon
Paperback
Kindle
Amazon
Hardcover
Barnes
& Noble Paperback
https://www.barnesandnoble.com/w/we-will-rise-tim-waggoner/1140376625?ean=9781787585225
NOOK
Book
https://www.barnesandnoble.com/w/we-will-rise-tim-waggoner/1140376625?ean=9781787585263
Barnes
& Noble Hardcover
https://www.barnesandnoble.com/w/we-will-rise-tim-waggoner/1140376625?ean=9781787585249
Writing
Workshops
Want
to take a writing workshop with me? A couple of my workshop presentations have
been recorded and are available to watch on YouTube:
The
Art of Suspense
https://www.youtube.com/watch?v=QGhI0iMiz80&t=21s
Done
to Death – Avoiding Cliches in Horror
https://www.youtube.com/watch?v=B0egC7wvVLc
WANT
TO STALK ME IRL?
Right
now, the only face-to-face convention I’m going to is Stokercon in May. I’ll be
doing a workshop or two for Horror University, although nothing specific has
been scheduled yet, and I’m sure I’ll be doing some panels too. If you’re
going, I look forward to seeing you there!
Stokercon.
Denver, Colorado. May 12-15, 2022.
WANT TO STALK ME
VIRTUALLY?
Want
to follow me on social media? Here’s where you can find me:
Website:
www.timwaggoner.com
Twitter:
@timwaggoner
Facebook:
https://www.facebook.com/tim.waggoner.9
Instagram:
tim.waggoner.scribe
YouTube Channel: https://www.youtube.com/channel/UCZEz6_ALPrV3tdC0V3peKNw