Last month I got into a discussion on twitter—inspired by this Jennifer Crusie post—about the extent to which an editor can rewrite their authors. Crusie thinks NOT AT ALL and I completely agree and said so, which led to a back and forth with a good editor friend of mine, Juliet Ulman, who said she rewrites her authors. I happen to know many authors who’ve been edited by Juliet and love her editorial style1 and it became clear to me that we weren’t talking about the same thing.
There were also many folks commenting on Jennifer Crusie’s blog and on twitter who were like NO ONE CAN TOUCH A WORD OF MY WRITING EVER. And I was pretty sure that we weren’t talking about the same thing either.
What I think was going on is that we all seem to mean something different by “rewriting”. So I’m going to write about what I mean by rewriting and about how I view the writer/editor relationship.
Let me start by saying: a good editor is worth their weight in whatever substance it is that you love most.
Every single one of my published books have been rigorously edited. They have been vastly improved by working with an editor. Without all those editorial interventions they would be much, much crappier.
Editors have improved my books by pointing out where the story bogged down, pointing out things that made no sense, suggesting I cut characters/scenes/story arcs. They’ve also argued passionately to see more of particular characters and story arcs. They’ve made me expand scenes, add scenes, add chapters, strengthen characters’ story arcs. They have made me rewrite the endings of several of my books many, many times until we were both happy with it.2
Editors have improved my books in ways that I’m not even thinking of now. But they have never done it by replacing my words with their words. That is what I mean by editors not rewriting my work. Every word in every novel I’ve published is there because I wanted it to be there, because I wrote it. Or because Sarah wrote it.3
Now this does not include micro edits of the “their” for “they’re” or “there” variety. I have a tendency towards misspelling my own characters’ names as Sarah Rees Brennan can attest. While working on Team Human I kept writing Frances, when I meant to write Francis. I have to be watched like a hawke!
Nor does it include editors deleting redundant words like “just” and “really” and “actually.”4 Or supplying missing words. Sometimes I type so fast words don’t make it onto the page. Or words come out as homonyms “no” for “know.” Or more bizarrely I’ll type one word but mean an entirely different word “flirt” for “razor,” “quokka” for “effulgent.”5
This kind of editing is done not only by the editor but also by the copyeditor and the proofreader. The goal is that the final book will have no such mistakes in it. Alas and alack a book with no mistakes in it is rarely if ever achieved. Best to think of those last few typos as the flaw in the Persian carpet.
I have had a few editors write their own words as a suggestion to try and get across what they want me to do with a particular passage in a book and I have had pretty much the same reaction Jennifer Crusie described. I really hate it. Get your hideous words off my book! The horror! The horror!
But most of the editors I work with don’t do that. They’re more likely to write something like: Do you really think they would be quite this passionate given that they’ve only just met? Seems a bit quick. Rather than Alfonso should say . . . Basically I want my editors to tell and not show. Those editors I’ve worked with that do show only do it rarely. Over the years I have learned to simply not see those words. My brain looks at the suggested wording and goes: Editor no like this bit. Me fix.
I hope that’s made what I mean by “rewriting” a bit clearer. But if not please demand further explication in the comments.
However, I do not believe that every word, every phrase, every sentence I write is a precious, precious thing that cannot be fixed. I think everything can be improved. SHOULD be improved. And that working with a good editor is absolutely vital in that process. However, the editor’s role is to suggest, my job is to do.
Which is why every published novel of mine has gone through multiple drafts.
In the course of the twitter discussion Peter Mattessi requested that I “mention things like whether editors should be credited? And also your thoughts on Carver’s editor.” Peter comes from the television side of the writing world, which operates very differently from novel writing.
The process of editing one of my novels kind of goes like this:
Editor reads sends writer editorial letter which usually focus on the big picture stuff: stuff that doesn’t make sense, pacing, character likeability etc—>
I read and make changes (where I agree with them) based on editorial letter + stuff I’ve noticed that I want to fix—>editor reads this version—>
Editor writes next ed letter which is usually pushing me further with changes I’ve already made: be less subtle. As well as finer detail and more small picture stuff: this character use the word effulgent too much, why is everyone grimacing—>
I read ed. letter and make changes I agree with + other stuff I want to embettermerate6 —>
Editor reads this version and asks for further changes or passes it along to the copy editor.
To answer Peter’s questions. Yes, I actually do think editors should be credited. But they mostly are. It’s a very rare author who doesn’t thank their editor in the acknowledgements. It helps other writers figure out who they want to work with.
What am I thoughts on the relationship of Raymond Carver to his editor, Gordon Lish? I’m not really the right person to ask because I’m not a huge fan of that kind of minimalist writing. By which I mean I have never finished a Carver story. I find them unemotional, flat and unengaging. Yeah, I know, blasphemy. However, I’ve never compared the edited-by-Lish version with the pure Carver version. So I don’t know if he improved them or not.
Personally, I would loathe working with an editor like Lish. My gut reaction is that someone having their ego that tied up with someone else’s writing is more than a bit off. From the little I have read about the relationship, basically this New Yorker article, they seemed to have a pretty dysfunctional relationship. But many, many, many people love those Carvers stories so who am I to say?
It sure is an interesting relationship.8 And there are examples, though for some reason I’m failing to think of a single one, where a male writer’s work was supposedly largely written by his wife. Or at least edited by her in a Gordon Lish kind of way. Should they have gotten credit? I would think so. Lish should probably have been credited. It’s inarguable that he had a HUGE impact on those Carver stories to the level of being a near collaborator. But, on the other hand, those stories would never have existed without Carver. None of the stories Gordon Lish wrote on his own have had any where near the impact of the Carver stories.
So, um, actually I have no idea.
In conclusion: Good editors, I love them. But don’t ever agree to changes you don’t want. They are your words, own them.
- I had my editor submit my one adult novel to Juliet because I’d heard such good things. It didn’t work out but I mention this because I want to make it clear how much I esteem Juliet’s editorial acumen. [↩]
- Endings are the hardest part. Always. [↩]
- Truly we became as one while writing Team Human. Every word in that book is our word. [↩]
- No, they’re not always really redundant just most of the time. Actually. [↩]
- No, I don’t know why. Brains are really weird, okay? [↩]
- Yes, that is too a word! Damn you, copyeditors! [↩]
- In their ample spare time, I mean. [↩]
- Further to what I said above: any editor worth their salt would tell me to delete this sentence because it adds nothing. They would be correct but I’m leaving it there to make this point. My blog posts are not edited, except by me, which is seriously not enough, and that’s why they’re not as well written as my books. This post is full of redundancies. There aren’t enough commas and etc. [↩]