Once a novel gets picked up by a publisher, editing?

charlotte49ers · Sep 22, 2009

This is obviously a broad question, so I'm really looking for a general answer (or specific experiences).

How much editing goes into it? I tried searching, so if there is a thread about this, I'd be happy if you could point me in the right direction!

I'm just wondering, really. Do editors change big stuff or is it most grammatical?

CheshireCat · Sep 22, 2009

Your editor is the one who will suggest revisions: small things, large things, whatever. Often for clarity, or because she found a section too slow or too "talky" or "too much inside her head" or whatever. Your editor may also be the one who will go through the manuscript and make some arbitrary changes in sentence structure just because. (In other words, not "correct" something but change your word for her word; beware this type of editor and remember you can always STET changes you don't agree with.)

Once revisions are done and your editor and you are happy with them, the manuscript goes to a copy editor, who will go over it making small tweaks for house style (certain spelling or cap rules, maybe no serial comma, and whatever else they've decided to go with), looking for gaps in logic or mistakes in timing and for other inconsistencies.

The CE either marks on the manuscript or on flags (a kind of sticky note) her queries and comments. You respond to the queries by making changes or not, then tearing off the flag or crossing out the queries in the margins.

Bear in mind that CEs generally never see the manuscript again and are often freelance, outside the house, so don't waste time or emotional energy trying to argue with them in your head.

Just make changes or not, STET things you want to keep the way you had them, and then get prepared for the wonderful next step in the process -- galleys.

:evil

Amarie · Sep 22, 2009

Yes, as CeCe says, it can be anything. I added in both a new beginning chapter and a new ending chapter per my editor's request. She suggested some things she thought would work, but I couldn't get them to work exactly that way, and she was happy with what I came up with. I was very stressed about her requests until I understood I didn't have to write to order.

charlotte49ers · Sep 22, 2009

Thanks!!! I've always wondered how it worked!

Gary Clarke · Sep 23, 2009

>>Your editor may also be the one who will go through the manuscript and make some arbitrary changes in sentence structure just because. (In other words, not "correct" something but change your word for her word; beware this type of editor and remember you can always STET changes you don't agree with.)<<

quoted for truth.

Madison · Sep 23, 2009

Your agent will probably work through some revisions with you before he/she even sends it out to a publisher... after that, I don't know.

bsolah · Sep 23, 2009

CheshireCat's post is most informative. Thank you very much.

Rufus Coppertop · Sep 24, 2009

CheshireCat said:
Your editor may also be the one who will go through the manuscript and make some arbitrary changes in sentence structure just because. (In other words, not "correct" something but change your word for her word; beware this type of editor and remember you can always STET changes you don't agree with.)

What does STET mean?

Amarie · Sep 24, 2009

Rufus Coppertop said:
What does STET mean?

It means 'let it stand', used when you want to keep the original version, not accepting the change the copyeditor has made.

Rufus Coppertop · Sep 24, 2009

Melia said:
It means 'let it stand', used when you want to keep the original version, not accepting the change the copyeditor has made.

Okay, thanks for that.

Wayne K · Sep 24, 2009

http://www.sfwa.org/2009/06/the-sobering-saga-of-myrtle-the-manuscript/

Uncle Jim suggests reading this. I haven't read it yet, so I don't know if it even pertains to this question, but it's next on my list.

maestrowork · Sep 24, 2009

It depends. The editing could be simple line edits to major rewrites. If there are big plot holes or inconsistency, the editor would suggest developmental rewrites and would work with you, making suggestions -- basically serving as your #1 beta and work through it.

Michael Chabon said his editor gave him Hell when he was editing The Amazing Adventure of Kavalier and Clay. And that's Chabon, arguably one of the best writers of our generation. But they made a much better book and it won a Pulitzer.

STET is good, but... my suggestion is never go through the editing process with STET in mind. Always keep an open mind.

Ryan David Jahn · Sep 24, 2009

As others have said, it depends. I've found that it can be the simplest editorial comments that require the most work.

"Wouldn't he just turn on the lamp rather than hunt for a flashlight?"

And you think, Shit! Of course. How could I have overlooked that?

But this simple observation requires rewriting two scenes separated by two hundred pages, one being the scene in which the event occurs and the other being the one in which the consequences of the first scene are finally revealed, the consequences of the first having been slightly altered as a result of the scene needing to be rewritten.

(Yeah, that's a real example, and thank goodness it was caught. Embarrassing as it might be to get caught with your idiocy on display, it's best that it happens during editing rather than later in public.)

maestrowork · Sep 24, 2009

Ryan David Jahn said:
But this simple observation requires rewriting two scenes separated by two hundred, one being the scene in which the event occurs and the other being the one in which the consequences of the first scene are finally revealed, the consequences of the first having been slightly altered as a result of the scene needing to be rewritten.

But sometimes you can be creative about it, and as long as it's plausible, I try not to lose sleep over small details, unless they are not "small details." For example, my editor had a problem with a disabled girl being left alone by her parents in my book. Her comment was: "What kind of parents would do that?" So I tried and tried and tried to think of something else, or maybe changing the plot, and at the end, I realized the solution was simple. I only added two lines to the dialogue and the whole problem was resolved.

But that kind of editing/rewrite is invaluable because it forces us to see things from a different perspective and consider other possibilities. It makes the book stronger.

I think if you keep that in mind, then the process isn't as daunting as it first seems.

Ryan David Jahn · Sep 24, 2009

maestrowork said:
But that kind of editing/rewrite is invaluable because it forces us to see things from a different perspective and consider other possibilities. It makes the book stronger.

I think if you keep that in mind, then the process isn't as daunting as it first seems.

I agree. The editing process, the back and forth, is, in my admittedly limited experience, one of the most rewarding parts of the process (after the actual writing). That outside perspective is invaluable.

charlotte49ers · Sep 24, 2009

Thanks for the insight! This post has been extremely informative and I appreciate it.

It makes sense to have an open-mind (I'm not one to be horribly defensive - my other profession has taught me how to handle constructive critisicm - so if I'm ever lucky enough to be in this situation, I don't think it would be a problem), but to also know where to draw your lines in the sand, so to speak. I'd never heard that about Chabon's book, either, so that's a good thing to keep in mind.

Once a novel gets picked up by a publisher, editing?

charlotte49ers

let it snow

CheshireCat

Mostly purring. Mostly.

Amarie

carpe libri

charlotte49ers

let it snow

Gary Clarke

Knackered

Madison

summertime...

bsolah

AW's Resident Commie

Rufus Coppertop

Amarie

carpe libri

Rufus Coppertop

Wayne K

maestrowork

Fear the Death Ray

Ryan David Jahn

maestrowork

Fear the Death Ray

Ryan David Jahn

charlotte49ers

let it snow