By Selina McLemore
I bet she thinks I sound young. Really young.
“I’m Selina and I’m going to be your editor on this project.”
I love calling debut authors. I feel like I can really relate to the rush of excitement a new author feels. She’s worked so hard on her manuscript, rewritten it countless times, and finally she’s found someone who also sees all the great qualities it has. And with just a few more changes, it will be perfect.
For a lot of authors, new and experienced, hearing that their work — their baby — still needs tweaking is tough. And to be honest it took me a while to understand why. From my perspective, revisions are a natural part of the process, and to be expected. And after all, I don’t acquire an author if I don’t enjoy his or her work, so why would hearing about ideas to improve it be considered criticism?
But that’s how a lot of new writers view the revision discussion. Suddenly the warm, fuzzy feelings of making your first sale fade and are replaced by doubt: first, Will I really be able to do this? soon to be followed by, Does my editor really know what she’s talking about?
The answer to both questions, by the way, is yes.
I’m not saying editors are beyond error, but our goal is to make your manuscript as strong as we possibly can. And remember, we have some advantages you don’t. For one thing, an editor comes to the book with fresh eyes, just like the reader does. The most common problem I see in debut novels is a lapse in logic that the author, due to her familiarity with the work, can’t see. So a revision I often request is for an author to go back and add in explanation.
In my experience, most authors don’t have a problem when you ask them to write more. Go figure. What they are usually less receptive to is my second most common request, the request I made of Karyn: cut this.
Sometimes it’s a paragraph or a few lines here and there, sometimes it’s a whole character or an entire subplot — whatever it is, no one likes losing material she’s worked hard on. But the request to cut is not just about making page count. It’s about rhythm, pacing, flow. It’s about making sure descriptive passages don’t dominate the book, taking away from the action. Think of every page as valuable real estate. There’s only so much, so you want to be sure you’re using it in the best way possible.
But if there’s one type of revision that’s even more difficult to discuss than cutting, it’s something I call the audience factor. Publishing is a business, and part of being successful in that business is knowing your audience, what they expect, what they’re looking for, what they’re missing. The audience factor comes in to play a lot when I request revisions to a character. It’s wonderful to have a main character who raises questions and calls on readers to really think about what’s before them. But the catch is that the reader still has to like her. If a reader doesn’t finish the book because the heroine is too abrasive, then her transformation at the end is lost. And if, because that reader didn’t finish the book, she doesn’t recommend it to a friend, you’ve lost another potential fan. Sometimes to get the message across, you have to soften the messenger.
So the lesson is: whatever revisions your editor requests you should immediately do? No. Of course not. But I am saying, pick your battles. Thinking you can avoid any revisions is unrealistic, but if you’re strongly against making a change, say so. No one agrees all the time, and Karyn and I are no exception. But when you keep an open dialogue and trust your editor, the fun of the first call can last through all those to follow — like when we talk about your copyedits and cover art and publicity plans and galleys and quotes and option material.
Currently an assistant editor at Avon Books, Selina McLemore has worked in women’s fiction for three years. In addition to contemporary romance titles like A Personal Matter, Selina also works with authors who write historical romance and chick lit.
Last month, Karyn Langhorne Folan, the author of A Personal Matter, offered her perspective on working with Selina.