A little while ago, I received the edits for the manuscript I sold to EDGE Publishing some time ago. The edits are of three types: formatting changes (em dash, font, spacing, and general typesetting stuff); consistency of style (for instance: spelling out digits, capitalization of specialized nouns in the parlance of the novel, etc.); and what I'll call "story problems."
The first two are largely easy to resolve. I am engaged in a conversation about the past perfect tense ("I had gone to Disneyland before my brother did") as opposed to simple past ("I went to Disneyland before my brother did") but otherwise, those edits are going quite smoothly. I am happy to oblige my editor in this.
As to the story problems...
Let me put it this way. I spend a significant portion of my day grading student essays. I write COPIOUS notes for each student when I give back the essays, and my kids say that this helps a great deal, damn them. It means I can't really stop doing it. If any of my students are reading this, know that I, too, get notes on my writing. So kids, you're not alone. Even I, the Great and Powerful O, gets told when his writing isn't as good as it could be.
I really am grateful for the comments. I know the stereotypical view of the writer is some kind of crazed genius (I'm only half that) who refuses to be rewritten or corrected. My prose is golden--GOLDEN, I SAY!--and no one no how will tell me what to fix!
The truth is much different, at least, for me. I welcome my editor's comments. Sure, I won't agree with all of them. And we'll talk, and I'll present my case, and she'll present hers, and the stronger idea will win out. I'm sure she'll capitulate on points she isn't terribly invested in, as I will on points about which I lack passion. Most of the time, the give-and-take on the manuscript works, and if done right, can strengthen the work. An editor's job is to help the storyteller, well, tell the story as best he or she can.
Approaching this process with that mindset can result in a stronger work, and how can I refuse that?
Oh, on another note, the publisher wanted a writeup on the main character's appearance for cover art, so I expect to get a look at that soon.
Be seeing you!
The first two are largely easy to resolve. I am engaged in a conversation about the past perfect tense ("I had gone to Disneyland before my brother did") as opposed to simple past ("I went to Disneyland before my brother did") but otherwise, those edits are going quite smoothly. I am happy to oblige my editor in this.
As to the story problems...
Let me put it this way. I spend a significant portion of my day grading student essays. I write COPIOUS notes for each student when I give back the essays, and my kids say that this helps a great deal, damn them. It means I can't really stop doing it. If any of my students are reading this, know that I, too, get notes on my writing. So kids, you're not alone. Even I, the Great and Powerful O, gets told when his writing isn't as good as it could be.
I really am grateful for the comments. I know the stereotypical view of the writer is some kind of crazed genius (I'm only half that) who refuses to be rewritten or corrected. My prose is golden--GOLDEN, I SAY!--and no one no how will tell me what to fix!
The truth is much different, at least, for me. I welcome my editor's comments. Sure, I won't agree with all of them. And we'll talk, and I'll present my case, and she'll present hers, and the stronger idea will win out. I'm sure she'll capitulate on points she isn't terribly invested in, as I will on points about which I lack passion. Most of the time, the give-and-take on the manuscript works, and if done right, can strengthen the work. An editor's job is to help the storyteller, well, tell the story as best he or she can.
Approaching this process with that mindset can result in a stronger work, and how can I refuse that?
Oh, on another note, the publisher wanted a writeup on the main character's appearance for cover art, so I expect to get a look at that soon.
Be seeing you!
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