Good judgment comes from experience, and experience comes from bad judgment. So come closer and listen to what I’ve learned from experience: Editors are a writer’s best friend.
Not when they’re patting you on the back, because anybody can butter you up.
They’re your best friend when they take a red pen and blast through your complicated writing pets, when they check your wildest instincts and find order out of the natural chaos that comes from banging on the keyboard to create anything of length and importance.
So it’s wrong to say that every writer needs an editor.
You need more than one, if you want to get serious about any sort of real writing.
It’s like building a house. As a writer, you’re trying to do it all: draft the blueprints like an architect, pour the foundation, frame it, plumb it, siding, drywall, flooring, cabinets, painting–the whole thing.
Every step is important. And getting the right editors is like hiring great subcontractors.
My bias is to think of structure first, because if the blueprints are bad, it doesn’t matter how pretty the carpentry is, and how great the writing is line by line.
This is why every professional architect hires an engineer to do the math and make sure the foundation is strong enough to hold up the house, that the roof won’t blow off and your beams are big enough to handle the load.
So you need different editors for different things. The best possible professional editor for the structure, the blueprints. Then beta readers to look over the whole thing another time, looking for medium-size problems. A line editor to smooth things out and make it all pretty, and finally a proof-reader to take a microscope to the entire thing and make it as flawless as possible.
That sounds like a lot, and most pro editors can wear different hats. But I’m going to argue for dividing it up, because when you’ve been staring at the same thing for weeks, or months, you stop seeing things. A fresh pair of eyes is always smart.
Even though I’ve always had editors, starting way back in college when I was putting out newspapers, there’s a natural inclination for writers to screw this up, to see using editors as some kind of sign of weakness. The thinking goes like this: “Hey, I have (1) a master’s degree in creative writing or (2) have been cashing checks as a journalist for years or (3) am far too talented to need the crutch of a professional editor, which is for wannabes who can’t write their way out of a paper sack if you handed them a sharpened pencil.”
I’d did editing wrong by having friends and family beta read, or asking fellow writers who yes, wrote for money, but cashed checks for doing something completely different.
And it was a waste of time.
Here’s how I learned my lesson, and no, I am not making this up: On a whim, I posted a silly ad to sell my beater Hyundai and romance authors somehow found my little blog that started from that. Pro editor Theresa Stevens got there somehow and I started talking to her, and on a whim I did her standard thing to edit the first 75 pages of a novel, the synopsis and query letter. I didn’t think anything of it and expected line edits. Dangling modifiers and such.
But she rocked.
I learned more, in the months of editing that entire novel, than I could’ve learned in ten years on my own. It’s like the difference between a pro baseball player trying to become a better hitter by spending six hours a day in batting practice, alone, versus one hour a day in hard practice with a world-class batting coach. I’d pick the batting coach, every time.
As somebody who used to lone-wolf it, let me say this: I was wrong.
And so on this Friendly Friday, I want to plant a big smooch on editors of the world, and encourage writers of all backgrounds and specialties to see editors in a different light. That having an editor isn’t a sign of weakness, but of strength. That it says you’re crazy serious about what you do and not afraid of working with the best of the best rather than a cheerleading squad of yes-men who think your 947-word epic about elves with lightsabers riding dragons is the best thing ever.
That it’s not about you, and doing whatever you want, but about making the finest product you can give to readers.
So I want to give a shout out to Theresa the Stevens, who has taught me much, and Rebecca Dickson, my uncensored female doppleganger, and to great beta readers and editors like Alexandria Szeman, Julia Rachel Barrett, Anna Davis, Mayumi, Donna — because just like a single person can’t be expected to build a beautiful house alone, a smart writer gets help and advice from the smartest people possible.
Find one of those smart people with a red pen.
Hire them, hug them, listen to them, buy them flowers when you succeed. But use them, if you’re serious. And if you’re not serious, hey, take up bowling or whatever.
Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller (FREEDOM, ALASKA) that won some award (PNWA 2013). Represented by Jill Marr of the Dijkstra Literary Agency.