The Ever-Important (If Slightly Dysfunctional) Editor-Writer Relationship

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Reynold Sullivan
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1 The Ever-Important (If Slightly Dysfunctional) Editor-Writer Relationship Introduction and Framework Relationships are important. People need other people, both professionally and personally. So one needs to cultivate relationships which will be fruitful and helpful in achieving common goals and providing support. But some relationships are not created or maintained very easily. One relationship that has traditionally been difficult is the professional relationship between a writer and his or her editor. The editor-writer relationship is crucial to the writing process, and professional writers (of any kind journalists, novelists, technical writers) need editors. Kristen Proby, a New York Times best-selling author of the Witch in Me Seattle series, recognizes the vast benefit in having a good editor, saying, [Having an editor] will mean the difference between being mediocre and being a professional to be taken seriously. Editors can make all difference between a good piece of writing and a great piece of work. They take writing that readers would deem acceptable and elevate that to a polished piece that communicates ideas more clearly and professionally to the readers. Proby says that the editing process, makes me feel more confident in the product I m releasing to the reader. Good editing makes good writing even better (McCartney). Although writers do need editors, editors obviously need writers. Without the writer, the editor would be out of a job. Writers generate most of the content and do the brunt share of the organizing and writing. Editors then take the writing and work to make it better. Therefore, this relationship is codependent. No self-respecting writer denies the importance of good editing, so it would follow that a writer should appreciate the relationship they have with their editor. This is not always the case. To understand the complicated and sometimes messy relationship between writer and editor, it is important to first understand what an editor is and also what an editor should do. Then, it s important to determine just where the disparity between editor and writer lies. Only then will it be clear how writers should approach their editors and, in turn, how editors should approach their writers. Literature Review Editors come in many forms. Freelance editors, copyeditors, periodical editors, proofreaders, content editors, publishing editors: they all work to make sure the writing is grammatically correct and polished so that they produce the best product possible. Some are concerned only with line editing while others take a more comprehensive approach to improving the work. Ultimately, the editor is the voice of the audience. Editors are the first to see a written work and they therefore represent the audience. They can see where writing is unclear and confusing better than the writer can (Cindrich). This gives the editor a unique opportunity to be a user advocate, which is good as editors often know the audience more intimately than even the writer does (Taylor). The writer knows what idea he or she wants to communicate; the editor knows how the audience will best receive that idea.

2 The ideal editor is two things to writers: a mediator and a coach. The mediating editor works to best bring the writing to the appropriate audience while the coaching editor works respectfully to direct necessary revisions (Taylor). The writer s ideal editor would patient, meticulous, and sensitive to the writer s voice and intentions and would help to guide the writer through the difficult publication process (Paton). The editor should work to understand the writer s purpose so that he or she can then help the writer narrow and polish that purpose. Ultimately, an editor, regardless of what type of editor, should be an asset in the writing process, someone who guides and helps the writer produce the best work for the targeted audience. If an editor does what the editor is supposed to do, the edits become an invaluable asset to the piece s success. A good editor has changed the work of nearly every good writer (Paton). If this is true, why is there such strife in the editor-writer relationship? Writers can agree that an editor is one of the best and most necessary aspects of the production of good writing (McCartney). So why then do most writers cringe when it comes time to send their work to the editor? Where is the disparity? Editors are typically viewed negatively. Words such as indecisive, incompetent, unresponsive, expensive, and untimely are often used to describe editors. Carl Stepp, a well-known newsroom editor, describes editors as butchers (Stepp). Bad editors can be all those things: fickle, ruthless, unapproachable, and costly. Even good editors can be busy and brutal at times. However, this stereotype has hurt the editor-writer relationship, labeling editors in a very negative way and skewing the way writers view editors. Editors can also be neglectful. Stepp argues that one of the largest issues in the relationship is that editors give their writers less attention than needed (Stepp). Most writers want their editor to be available to give them quality attention whenever they need it. Obviously this isn t always possible. However, the main issue in the editor-writer relationship stems from egos. Egos can become involved, and hurt feelings may result (Leddy). Writers spend exorbitant time researching and organizing and gathering their thoughts. Then they spend hours writing and crafting sentences and pages until their work is completed to what they feel to be the best. Through the writing process, the work writers create becomes very precious to them because they are expressing their ideas. It is easily understood how sending this work to the chopping block can be emotionally unnerving. When an editor changes something, it is easy for the writer to be offended or indignant. Conversely, editors spend a lot of time and energy editing the work that is sent to them. They have put in the time to research the audience and understand the purpose, and they have put in the time long before to become experts in the field of editing. When a writer argues and fights about a change the editor made, it is easy for the editor to become proud and stubborn. Both are really working toward the same goal, but disagreements and hurt feelings can temporarily (or completely) blind both editor and writer to what the final product should be. Writer T.L. Haddix confirms that content edits and edits in general can be tough to handle. She says, The most painful thing I heard was this isn t important to the story and it needs to go. (McCartney). Literary author Thomas Wolfe described the process of editing as a time of bitter hopelessness and doubt because he had to make so many changes to his work (Leddy). Even though it is easy for writers to feel like editors are stepping on their toes, they must remember that edits are not made maliciously. Altogether, the issues in this vital relationship, as most issues in any relationship, are rooted in miscommunication or lack of communication. Chuck Leddy explains: Writers may feel misunderstood, or they may believe an editor is trying to meddle with their artistic vision. Editors may feel that writers

3 are too temperamental, or overly sensitive about requests for revision that will improve the manuscript. If the writer and editor are to have a healthy relationship, communication is needed. Writers want their work to be respected, and editors want their work to help improve the final product. As long as there is open communication on both ends, hurt feelings can largely be avoided and the other issues can be ironed out as well. Both editor and writer are working toward the same goal, and if they remember that fact, they can work together to achieve it. Application The relationship between editor and writer is very important for both the effectiveness of the writing process and the quality of the writing piece. Therefore, writers should want to make this relationship as healthy as possible, and editors, if they want to keep their jobs, should want the same thing. Unsurprisingly, this relationship is like any other relationship in life: it needs to be built on open communication and respect with an emphasis on trust. Stepp says that in order for the relationship to work, it needs mutual respect, stronger communication and more focused discussions about approach and style (Stepp). Writers need to understand why the edits are made and remember that editors are just trying to make the writing better and more suitable for the audience. If the writer has the luxury to do so, they should choose to work with an editor that they trust. Once a writer trusts an editor, it is much easier for that writer to learn (Leddy). Writers should also try to work with editors they know will be responsive to their questions. If the writer cannot choose their editor, there are some things he can do to foster a healthy relationship. Writers should ask questions, explain changes, and follow up with the editor (Cindrich). To open up communication with the editor, the writer should ask questions throughout the writing of a piece so the editor can help guide the writer to produce the best piece possible the first time. After the editor looks at the piece, writers should ask purposeful questions about the changes editors suggested. Once a writer reworks a piece, he should explain the changes he made to the editor or respectfully explain why he feels certain changes should not be made. Then, follow up with the editor to see if the changes were sufficient and ask again for their further guidance if needed. Editors need to foster a healthy relationship as well: a good relationship with the writer means less stress, frustration, arguments, and better work. To establish and maintain the most effective relationship, editors need to be involved, respectful, clear, and encouraging. If the editor is involved in the entire writing process, start to finish, the jobs of both writer and editor become easier. Writers can ask for advice on ideas or direction for a project, and editors can help explain what they are looking for early on. This saves a lot of time, aggravation, and miscommunication in the long run (Stepp). By the time the piece is done, both the editor and writer know what they want for the piece. Clarifying the goals of a piece and collaborating on edits are crucial in establishing a good working relationship and producing a piece that meets the needs of the audience (Cindrich). This can happen only if the editor is involved. Editors need to respect what the writer does. If editors want writers to honor and trust the edits they make, they need to first respect what the writer has put together. Once a writer feels respected and cared for, they are more receptive to the changes the editor wants to make (Taylor). Editors should therefore listen to their writers and respect their visions before editing.

4 Editors also need to be clear with what they want. Vague edits are not useful to writers, and major edits without explanation are usually perceived as offensive (Leddy). If an editor is clear upfront about what he is looking for and how that will better the writing, writers are more likely to trust that editor. One last thing a good editor should always do: encourage the writer! Writers pour a lot of themselves into their work, and editors should recognize and praise writers for doing so. A good editor expresses confidence in the writer s ability to improve the work with the guidance he provides (Cindrich). The editor is there as a resource for the writer, and shouldn t tear the writer apart without some encouragement along the way. Conclusion The relationship between editor and writer is a very complicated one. Editing is a huge part of the writing process and it improves writing almost always, so it is extremely important that the relationship is maintained well. Writers and editors seem to always be at odds, but if both work to respect and trust each other, they will recognize they are working toward the same goal and making the writing much better. An editor-writer relationship built on communication and respect will be healthy and will produce the best product possible. References Cindrich, Sharon Milller. "Understanding the writer/editor relationship." Kalmbach Publishing January Leddy, Chuck. "The Complicated writer-editor Relationship." Kalmbach Publishing December 2007: 8-9. McCartney, Jennifer. "Indie Authors Talk Editors." July Paton, Elizabeth. "The Social System of Creativity: How Publishers and Editors Influence Writers and Their Work." International Journal of the Book (2012): Stepp, Carl. "Can this Relationship be Saved?" University of Maryland April 2000: 32. Taylor, Pegi. "The Writer's Ally." Kalmbach Publishing September 2001: 24.

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