Asking a working writer what he thinks about critics is like asking a lamp-post what he thinks about dogs.
Christopher Hampton
There are so many things about the author-editor relationship that seem frightening to the newbie. And even established authors still have that “I’ve got to please my editor” feeling most of the time. We do want to give our editors our very best work. No doubt about that. But we’ve also got to remember that editors are our allies. They’re hoping we give them something they can sell to their pub boards and eventually to thousands of readers. In other words, we don’t need to be afraid of the editor. We need to link arms with him and walk this road together.
In my many years of publishing, I’ve witnessed several different scenarios with editors, (both fiction and non-fiction):
Scenario #1: Author sends beloved manuscript to coveted editor at favorite publishing house. Editor sends back, “I’m sorry, but this is not a good fit for our house” note. Immediate reaction? Author falls out of love with said editor and immediately assumes he doesn’t know what he’s doing/doesn’t know a good thing when he sees it.
Scenario #2: Author sells one, two or even three books to a particular publishing house, and enters into a “strong/positive” relationship with her editor. Somewhere along the way, the editor appears to lose interest, not just in her projects, but in her. She leaves the relationship disappointed.
Scenario #3: Author sends query letter to editor. Editor likes it and asks for the complete manuscript. With great excitement, author sends manuscripts and begins to say to friends, “I think I might have sold my book!” Weeks, months, years later, editor hasn’t responded. Author sends emails, and finally receives the “thanks but no thanks” letter.
Scenario #4: Editor loves a particular author. Loves his work. Loves his enthusiasm. Loves his latest project. Contracts said project. Unfortunately, the public isn’t as enthused. Book sales are dismal. Editor is disappointed and wonders if he can justify purchasing another book from this author.
Scenario #5: Excited editor contracts an author’s book, based on the first several chapters. Said author completes the book, hands it in and a disappointed editor realizes much of what he holds in his hands needs to be re-written.
Scenario #6: Author presents a well-written, carefully edited project. Editor contracts project. They work together to edit the book and a marketing plan is constructed. Book comes out, and the author takes an active role in publicizing it. Author is happy. Editor is happy.
In my case, I’ve witnessed nearly every one of these first-hand. I’ve worked with editors who seemed interested in my story, but couldn’t get it past the pub board. I’ve worked with editors who slammed the door in my face. I’ve worked with a couple who came in, very enthusiastic, but fizzled out after a while. I’ve worked with a couple who forged intense and real working relationships with me...ones I knew I could count on, through thick and thin. A couple of those editors have also walked me through some personal tragedies in my own life and family. In other words, they genuinely care about me, and vice-versa.
Can you see how complicated this author-editor relationship can be? So many things hinge on the unknown. How does an author know that an editor’s enthusiasm today will carry on through the next months (and possibly years)? How does an editor know if an author will sell? (I know, for instance, that the folks who put out The Prayer of Jabez were unprepared for its success. They were astounded, from what I heard first-hand at a writer’s conference. I’d be willing to bet Rick Warren, author of The Purpose-Driven Life, was equally as stunned that his book took off like it did.) Sometimes the success of a book is completely unpredicted. And sometimes a book that editors expect to sell like hotcakes simply doesn’t.
When my book Hurricane came out just after the 100th anniversary of the storm that almost destroyed Galveston Island, I was sure it would be a bestseller. To date, it remains one of my lowest selling books. Ironically, one of my sweet, simple love stories remains near the top of the pack. What made the difference? I have absolutely no idea. That’s why this author/editor relationship can be so tricky. Remember, acquisitions editors put their reputations on the line with your book, too. You’re not the only one squirming if it doesn’t take off. Your editor has to answer to a publishing board and a company president.
In spite of the fear of rejection, every author wants to pitch his book to an editor and have it accepted. That’s why I spent so much time in the last lesson talking about the submission process and the eventual sale of your book. Getting past the gatekeepers—the editors, pub board, etc.—can be tough, and most authors work feverishly just to get the “welcome to our family” letter from an editor. But what happens after that? Imagine you’ve sold your book and it is going through the various stages we’ve already discussed. How—once the book is sold and in production—do we maintain our relationship with the acquisitions editor, the copy editor and so on? The ongoing relationship between the author and editor can be very good, particularly if they both keep the following in mind:
The Author’s Role:
To turn in the best-written manuscript he/she possibly can. We talked about this in our “Building Your Writing House” lesson.
To study the market and understand his/her role in P.R. work. Our next lesson will detail all of the ways you can help your editor market your book.
To be willing to make changes, as necessary (and to remain flexible about things 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 your story. 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 nearly one hundred 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 in title/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.
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