WRITERS AND EDITORS

“Good, but needs work.” That’s the only note my first writing teacher ever gave to anyone, and man it pissed me off. Wasn’t he paying attention? Then I realized that, for a young writer trying to improve, “Good, but needs work” was pretty much all the edit I needed because my work was always good if it was growing, and it always needed work till it was grown.

Beyond “good, but needs work,” though, a writer needs a clear-eyed, forceful, well-informed and articulate editor to help her hone her skills. Of course, needing this thing and wanting this thing are two different things. What we want as writers is someone to tell us that every word we’ve written is brilliant, perfect, pure gold. What we need is someone to tell us just the opposite, for the indispensable purpose of moving the work, closer by degrees and agonizing steps, to something approximating gold.

From working with editors and also working as an editor, I have found that, like a writing partnership, the writer/editor relationship requires honesty, vulnerability, openness and devout service to the work. I believe you can grow by being this kind of writer. I know you can make a living being this kind of editor.

So here’s a little writer/editor reference guide, some things to think about as you and your editor get involved. “Good, but needs work” is only the beginning.

THE WRITER/EDITOR RELATIONSHIP

This relationship can trigger approach/avoidance conflict in both the writer and the editor. The writer wants and needs an editor’s input, but fears rejection. The editor wants to help, but dreads being the bearer of bad news.

THE WRITER’S ROLE

Writers do the heavy lifting. They take the material as far as they can on their own, and then turn to an editor for help. The work should be far enough along that the editor can comment meaningfully upon it, but not so far along that everything is set in stone in the writer’s mind.

THE EDITOR’S ROLE

Editors find problems. That’s their job. Problems in outline, manuscript, characters, jokes, structure, dialogue, thought, intent, clarity, marketability, whatever. Editors tell writers what’s working, but mostly they tell them what’s not. And editor with nothing but good news is not much use to a writer.

WHEN THE EDITOR IS NOT THE BUYER

When the editor is a writer’s (paid or unpaid) advisor, then the writer has the freedom to accept or reject the editor’s suggestions. It’s important for writers and editors in this relationship to remember that the writer has the final say.

WHEN THE EDITOR IS THE BUYER

When the editor is also the buyer, the situation changes. A writer for hire must be prepared to yield authority with grace. Many writers do not understand this, or resist it for reasons of fear and ego. This can be counter-productive to a writer’s career. Not to put too fine a point on it, some of the most valid writing is the signature on the check.

WHAT A WRITER LOOKS FOR IN AN EDITOR

The perfect writer’s editor is someone who gives fast, complete, articulate and detailed notes. Writers need editors who can go beyond “I like this” or “that doesn’t work” and really get into the specifics of the material. Writers also like editors who can give bad news gently, but this should not be a requisite.

WHAT AN EDITOR LOOKS FOR IN A WRITER

Editors need writers who are flexible, creative, willing to listen, and eager for new ideas. Editors like writers who understand that there’s more than one right answer. Above all, editors want writers who serve the work.

GOAL OF THE EDITING PROCESS

At every step, the goal of the editing process should be to improve the material. This is not about judging the work and declaring it good or bad. It’s about taking it from where it is to where it potentially can go. Another goal of the process is to improve the process, so that the next edit is easier, more informed and more effective than the last.

WHY WRITERS RESIST

Good editors come in with fresh perspective and give their writers a clear sense of where the material is working and where it’s not. Many writers want and need their editor’s input, but resist rewriting just the same. Ego is part of it, but a strong desire to just move on is probably the controlling emotion. If you’re ready to let yourself off the hook before your editor is, listen to your editor and stay on the hook a while longer. Your work will be glad you did.

DEALING WITH CRITICISM

Writers taking criticism have a choice of two filters. The “judgment” filter asks, “How does this criticism make me feel?” The “process” filter asks, “How can I use this information to improve what I’m trying to write?” Writers deal effectively with criticism when they absorb information through the process filter, and give the judgment filter the afternoon off.

GIVING NOTES EFFECTIVELY

Editors give effective notes by being detailed, complete and precise, by offering the thoughts behind and the reasons for their opinions. Editors help writers by always making it clear that their mission is simply to help the work reach its best destination.

RECEIVING NOTES PRODUCTIVELY

Writers take notes effectively when they… listen. Simply listen. Never argue or explain, just listen. Take the notes on board, and deal with them as a source of information, data and possible solutions to the problems at hand. Never forget that your editor is there to help, not hurt.

SERVING THE WORK VERSUS SERVING THE EGO

For reasons of focus and clarity, it’s more productive to serve the work than to defend the ego. Paradoxically, the more a writer serves the work, the better the work becomes. Later, when the work has improved, you feel good. Thus you can actually serve your ego by ignoring it.

Around here we have a saying, “Save your ego for the awards ceremony. ” That’s the second-most powerful key to the writer/editor relationship. Here’s the first most powerful one: “Every level of development is merely a platform upon which we stand to reach the next level.” Bearing this truth in mind, you can hold onto what works, surrender what needs surrendering, and use the writer/editor relationship to help close the gap between the writer you are and the writer you want to be.

John Vorhaus has written five novels, including Lucy in the Sky, The California Roll and The Albuquerque Turkey, plus the Killer Poker series and (with Annie Duke) Decide to Play Great Poker. He tweets for no apparent reason at @TrueFactBarFact, and lives the writer’s life at johnvorhaus.com, where he welcomes your visit.
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