The ongoing relationship between the author and editor can be very good, particularly if they both keep the following in mind:
The Non-Fiction Author’s Role:
To turn in the best-written manuscript he/she possibly can.
To study the market and understand his/her role in P.R. work.
To be willing to make changes, as necessary (and to remain flexible aboutthings like the book’s title or cover). This one brings up a good question: Are you married to your book’s title? Are you going to knee-jerk if the cover doesn’t look exactly as you envisioned it? Handing over the reins on these matters can be very difficult for the author.
To communicate with the editor in a reasonable way (not inundating the editor with phone calls and emails). Here’s a suggestion: don’t email or call your editor right away unless it’s a true emergency. Wait until you have two or three things to address, then put them all together in one email. If it is a pressing concern, go ahead and email, but keep in mind that the editor is likely busy working on acquiring the books that will fall in line behind yours.
To deal with feelings of rejection in a professional way. This is particularly crucial during the copy edit stage. How you treat that copy editor will get back to the acquisitions editor, trust me. And how you treat the acquisitions editor will get back to your agent, if you have one. It’s best, even when your feelings are hurt, not to lash out. Trust me when I say it will come back to haunt you. The publishing world is not as big as you think. Everyone seems to know everyone. If you’re booted out of one publishing house because of a poor attitude, the new house might not be as apt to take you on.
The Editor’s Role:
To carry his/her enthusiasm for a project all the way through, from contract to marketing. Think about what I said earlier. By the time your book is contracted and written, the acquisitions editor has likely contracted several more and is currently reading proposals, hoping to find the next diamond in the rough. You’re sitting at home on your computer focused solely on writing. The editor is not. You can’t let that hurt your feelings. She’s still very interested in you and your book. But it might take her awhile to get back with you.
To offer a fair dollar amount to the author, keeping the needs of the publishing house in mind.
To be honest (and speak up) when the author needs improvement. With over seventy books published, you can imagine how many edits I’ve been through. Most books require two rounds of edits – the initial phase (by the acquisitions editor) and the “big” edit with the assigned copy editor. The acquisitions editor will give me her take on my story not long after I’ve turned it in. She’ll also pass on her concerns to the copy editor, who will then detail a plan of action to remedy any problems.
To respond to the author in a timely fashion.
To walk the author through the editing process and any changes intitle/cover, etc. I should add here that only one of the books I’ve written required what I would call substantive edits. The reason? Because my acquisitions editor left mid-stream to have a baby. The editor who took her place didn’t catch the vision of my original story idea. So, after spending months writing it, she asked me to re-write it, not just once, but three times. Talk about exhausting! Still, I did my best not to knee-jerk. I knew enough about the industry to know it would come back to bite me if I did.
To present a fair picture to the author. (If things aren’t working out for a long-term career with the publishing house, this needs to be spoken instead of just allowing things to “fizzle out” over time.)Authors and editors have a lot in common. They love good books. They want to see the author succeed. And they want long-term relationships. This is possible, even in today’s competitive and often-complicated market.
QUICK FIXES for the author:
If your feelings are bruised, don’t assume your editor has deliberately hurt you. I once allowed my feelings to be hurt over a situation where an editor promised to buy a book from me, and then backed out of the deal. I really let it get me down. A year later, however, another publishing house picked up the book and it had triple the sales of any of my books at the original house. So, a little wounding today could be cause for celebration tomorrow!
If you feel neglected by your editor, speak up! Don’t wait until you’re at your boiling point. And remember, if you have an agent, he/she can act as mediator. In fact, that’s exactly what should happen if you find yourself in a sticky/tricky situation.
If you’re confused about a contract, get in touch with a professional who can examine it carefully for you (i.e. an agent or paid pro).
If you’re overwhelming your editor with emails, give it a rest!
QUICK FIXES for the editor:
• If you have an author in need of teaching/training, say so.
If your author has false hope, set him straight.
If you can’t buy another book from an author, be honest and up front.Friends, what it comes down to is this: the author and editor are a two-person team with a common goal. They want to succeed... together.
• This week, spend a little time making a list of all of the attributes you hope to find in an editor. Then make yourself (and your future editor) a list of attributes you hope to display.
Basically, the only thing we need is a hand that rests on our own, that wishes it well, that sometimes guides us.
~Hector Bianciotti, Sans La Misericorde du Christ
RECOMMENDED SITES:
Understanding the Editor Author Relationship http://www.right-writing.com/understanding.html
What’s an Acquisitions Editor? http://www.right-writing.com/acquisitions.html
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