What Makes a Good Editor?
By Jim Dempsey | February 9, 2021 |
I got a worrying email from an author last week. He had contacted me about a year ago for a free sample edit. He mailed me back after I’d returned the revised text to say he was happy with my work, appreciated my insight, but he had decided to go with another editor because they charged less.
His recent mail details a list of issues he then had with the other editor, including missed deadlines, errors introduced into his manuscript and basic errors missed. Most troubling of all, however, was that the cheaper editor had entirely changed the first two pages of one chapter. The author had originally written the narrative in retrospect—a common technique to fill the reader in on what has happened with these characters since we last saw them—but the editor had completely rewritten this as three pages of dialogue!
I literally gasped.
That, to put it mildly, is heavy handed editing.
I’m reluctant to revise dialogue in any novel because I feel the author knows the voice of the character much better than me. Of course, I’ll offer revision suggestions and correct any obvious errors, but there is, to me, something very intrusive about editing dialogue, so I’d certainly never consider rewriting whole pages in the voices of the author’s characters.
I’m still mentally gasping as I think about this.
This is not an isolated experience, I know, although it is perhaps the most extreme example I’ve heard in a long time. This, unfortunately, is a painful reality for many authors who put their money, faith and precious words into the hands of such editors, only to be disappointed when the text comes back with their voice and style usurped by the editor’s.
I understand that editing is a major investment in your writing career, but sometimes the cheaper option is not always the best or even the most economical. Such stories are bad news for authors and editors alike as, once confidence and trust in the editing process is shaken or lost, it can take a lot of hard work to restore an author’s faith.
A good relationship between an author and editor is essential to a successful publication. The difference between a compelling novel and a mediocre one is often decided at the editing stage.
So, how do you go about choosing a good editor for your cherished novel? How can you tell the difference between someone who says they’re good and someone who actually is good?
I’ve come up with some guidelines writers can use in any situation; whether it’s a short feature article for a magazine, a first novel or an academic dissertation, the same rules apply. But first, let’s take a look at what qualifies someone as an editor:
It’s your book, not mine
An excellent grasp of grammar is essential. Check the text on the editor’s website and in any correspondence you have with them to make sure there are no errors.
Many editors will have a background as a journalist or in publishing, but that’s not necessary. Being an avid reader (of anything and everything) and having an empathy for writing is a must. Indeed, being a writer, blogger or tweeter can all enhance someone’s qualifications for revising your work but they don’t automatically qualify that person as an editor—and, more accurately, as a good editor.
Self-discipline is important in a good editor, as is good judgement and, crucially, an ability to express thoughts clearly and succinctly. But the thing that distinguishes a good editor from a bad one is a willingness to accept the role of an unsung hero, located firmly in the background, without even a mention in the acknowledgements. A good editor maintains the author’s voice. We walk in your shoes and never leave evidence of our own footprints.
A good editor is a guide
Editing someone else’s work is a sensitive task. A good editor will never underestimate an author’s connection to, or passion for, the work. We will handle you with care. But a good editor will always be honest with you too, and point out areas of weakness or grammatical errors. A good editor will guide you through your work, show you areas where you excel, where you can express yourself better or more succinctly, and help you to look at your work from a distance. We will never change your voice or style.
What to look out for
There are a few characteristics you should beware of when looking to employ an editor. Some people who call themselves editors are often frustrated writers. They are more interested in showing off their own skills as an author than helping you to hone yours. They change words needlessly and suffocate your style. You will get a bad feeling in your stomach when you read your edited text; you’ll feel like you’ve lost your voice. Remember, a good editor won’t change words arbitrarily or on the basis of their preferences. We won’t change ‘boundaries’ to ‘borders’ or ‘fumble’ to ‘grope.’ We will make sure that your original voice shines.
Then there are editors who just don’t seem to have that necessary eye for detail. They will miss inconsistencies, spelling mistakes and grammatical errors in your text. Producing a consistent, error-free (as humanly possible) text is the fundamental task of an editor. A good editor won’t leave you with both ‘criticise’ and ‘criticize’ in your manuscript. We will make sure your spelling and punctuation is consistent and sharp, and we won’t confuse ‘its’ and ‘it’s.’ The sloppy editor seems oblivious to the fact that what can often set an author apart from the crowd is a manuscript free of grammatical blunders, jarring spelling mistakes and formatting errors.
Five essential qualities
But let’s focus on the positive. Keep these points in mind and you will be sure to choose an editor who will handle you, and your work, with skill and care.
- a good editor doesn’t have an strong ego that demands recognition or their voice on your page
- a good editor will be brutally honest with you, and will treat you and your work with respect
- a good editor has an obsessive eye for detail and is sensitive to inconsistencies
- a good editor will make sure that every sentence counts and is structurally sound
- a good editor can explain, in detail, the reason why every change is made
So how do you know if the editor you’re about to hire has these qualities? You’ll find clues in your contact with the editor. Does the editor communicate with you promptly and professionally? Do they belong to a recognized professional organization where there is a clear procedure to follow if you have serious complaints?
But the most important piece of advice I have for you is to ask for a free sample edit. Most professional editors will be happy to do this for you, and you will be able to tell within a few pages if your editor has the qualities listed above. And remember, a good editor has your best interests at heart.
What are your experiences of working with an editor (and let’s not focus too much on the bad times)? What do you see as good qualities in an editor?
Jim Dempsey (he/him) is a book editor who specializes in detailed analysis and editing of novel manuscripts through his company, Novel Gazing. He has worked as an editor for more than 20 years. He has a master’s degree in creative writing and is a professional member of the Chartered Institute of Editing and Proofreading and is a trustee of the Arkbound Foundation. Jim is fascinated by the similarities between fiction and psychotherapy, since both investigate the human condition, the things that make us uniquely human. He explores this at The Fiction Therapist website. If you have a specific concern with your novel, send an email to jim [at] thefictiontherapist.com, or visit the website to ask for a free sample edit. You can follow Jim on Instagram @the_fiction_therapist.
Hi Jim: Great post today. I know I can always rely on your expertise about good editing standards. I had a line editor once who told me she did one pass and then a second pass with skimming to see where her misses were. I found plenty of misses though when I got the MS back. As an editor myself, I try to do 3 full passes, which is quite time consuming. How many passes does a good editor do for a book-length MS and what do you suggest a writer to expect is reasonable?
I’m afraid I’m going to have to give one of those vague answers, Paula, and say it all depends. Sometimes, if the text doesn’t need to many revisions, then two passes is enough. If there are a lot of revisions, then maybe a third pass is necessary, but in those cases it can be better to send it back to the author to make the necessary changes and then go over it again (note that some editors might charge extra for this).
In the end, no editor will catch everything. That’s impossible, and that’s why it’s always recommended to have a round of proofreading before the text goes to print. And even then, we’ve all spotted typos and errors in books printed even by the best known publishing houses.
We can only do our best, and that’s all the more reason for looking for a good, professional editor.
Terrific article, Jim! I especially appreciate your list of five essential qualities. As someone who’s been on the receiving end of editorial services, I’d like to add that, like all good relationships, this one develops over time. You might feel hurt by a dose of tough love, and then rebound because you want to do better. Sometimes you challenge and push back; at other times you accept, with a measure of humility, that you’ve been called on something that you sort of knew but didn’t want to hear. You redefine your boundaries when needed, retain a sense of humor, learn to trust each other. Often, a good editor will tell you what’s not working, but it’s up to you, the author, to figure out how you want to change it. I’ve been fortunate to work with more than one person that way, and it’s been invaluable.
I think you’ve summed up the process – as it should work – perfectly, Barbara. Thanks
Jim, good piece. I’ve been blessed with wonderful editors who have preserved my voice whilst offering suggestions/corrections. I strive to do the same because it’s the voice that’s most unique to each person.
Hello Jim.
Choosing an editor is a tricky business, but I settled on a filter for making my decisions more reliable: critiquing the candidate editor’s own writing sample, whatever he or she has written that I can read. Why would I trust my work to someone who can’t write? After reading his Writer Unboxed posts, and the invaluable book he co-wrote with Renni Browne, Self-editing for Fiction Writers, I decided to work with Dave King. Later, I used the same approach to choose another editor, and I was pleased in both cases. P.S. Any fiction writer who hasn’t read the King-Browne book has a valuable treat in store.
Very sound advice, Barry. And that book is a treat for fiction editors too. All the best with your writing.
As a fellow editor, I absolutely agree with what you’ve said. I don’t, for example, change wording . . . but I do use comments to suggest alternatives that may be more clear or communicate what’s happening better. I think part of an editor’s job is to coach a writer into creating a stronger narrative. I’ve always respected the writer’s voice and often cede writing that I would not do myself. And, yes, a sample edit should be the first thing any writer does when considering an editor. Thanks, Jim.
Thanks, Ray, and yes, the comments function is ideal in those cases, along with a separate analysis document to point out those bigger changes the author could consider – those, as you say, coaching points.
Jim, a frequent question I hear asked at writers’ conferences is, where and how do I find an independent editor in the first place? Is there a directory, association, website or any kind of resource? Folks might like to know.
Good point, Donald. And I had considered adding this to the article but wondered if it was then taking it too far off-topic. I hope readers can find them here then:
All of these have directories to find editors in all sectors and genres.
I’m a member of the Chartered Institute for Editing and Proofreading, so I know most about them. They ensure a certain level of experience for editors and have a complaint system if authors have a problem with an editor. It’s mainly UK based, but not only. Find CIEP here: https://www.ciep.uk/
The EFA is more US focused: find them at https://www.the-efa.org/
ACES is perhaps more international: https://aceseditors.org/
Jim,
When I sent you my ms I hoped for two vital ingredents. One being a thorough knowledge of contemporary punctuation. The other being an ability to assess the novel in its entirety and to suggest how to improve weak areas.
I find it impossible to tell how a novel comes across on a first read. But I found your breakdown of each chapter very useful, particularly as you analysed each chapter before reading the next. This not only made me aware of weak spots, but also allowed me to grasp what a reader might be thinking of the story as it progressed. That kind of info is pure gold.
All the best…
I think that chapter by chapter breakdown is very important for the reason you mention and to give a summary of the story as I see it because if I see it differently to how you want it to be, then author and editor are talking about two different things and no piece of feedback will make sense.
The individual chapter breakdown also helps to me to dig that bit depper into the detail in my analysis to then see the bigger picture once I’ve read the whole story.
It also helps if the text is wonderfully written, as yours is. I hope it’s still going well.
Thanks
I’m so innocent of this mystical, magical world of publishing that I don’t even qualify as a newbie yet. I have assumed that anyone with the gumption to present themselves as an editor knows what they are doing and will understand and deliver what I need.
And of course my MS, the child I labored to produce, is so precious to me that the idea that it could fall into the hands of what sounds like a molester rather than a care-giver is unthinkable.
The takeaways for me are, be careful, there’s a lot of bad out there, and no matter what your budget, cost is not a reliable indicator of value. Those would be awfully easy to lose sight of.
Thank you so much for this.
I love your metaphor of MS as child, Bob. Should be required reading for everyone who hangs out his shingle as editor.
I agree, Christine. I am very aware how precious this thing is that an author puts in my hands for maybe a month at a time. An editor really has to handle this ‘child’ – and the ‘parent’ – with great care and consideration, while being prepared to give some tough love too. I find it a great privilege to be trusted with all these novels.
Great article as always!
I’ve edited a few memoirs, and critiqued many picture book manuscripts but haven’t officially hung up my shingle.
It’s a pipe dream of mine, and every time I read an article like this one, I think, “Yes, I want to do that!”
But do I do what it takes? Do I join one of those reputable organizations to build my client base? Ummmmmm… let’s change the subject. ;)
This is so good! There really does need to be unity between writer and editor. And the writer needs to take a good look at the edits with an open heart, with an attitude of learning, knowing most editors really do want the story to shine.
The first editor of my novel “Wilde Chained” was a disaster. Good thing I didn’t sign the contract. 500 copies for the first edition. Well. From there: “The promotion will be done by you.” “How many people can you gather at the book presentation?” “Why do I want an editor like you?” I asked him. That’s where our relationship ended. Fortunately, the novel (published in 2018) has worked well. It was prefaced by a well-known writer in Spain: Luis Antonio de Villena. If you enter my website you will see that I have presented it in many places (josecarlosbermejo.com). Now I am looking for an editor in English: serious, responsible and with deep knowledge of the English-speaking market. The novel has Oscar Wilde as one of its protagonists and that is part of the grace of the story. Greetings to the whole community.
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El primer editor de mi novela “Wilde Encadenado” fue un desastre. Menos mal que no firmé el contrato. 500 ejemplares para la primera edición. Bien. A partir de ahí: “La promoción la harás tú”. “¿Cuántas personas podrás reunir en la presentación del libro?”. “¿Para qué quiero un editor como tú?”, le pregunté. Ahí acabó nuestra relación. Por suerte, la novela (publicada en 2018) ha funcionado bien. Fue prologada por un escritor muy reconocido en España: Luis Antonio de Villena. Si entran en mi web verán que la he presentado en muchos lugares (josecarlosbermejo.com) Ahora estoy buscando editor en inglés: serio, responsable y con conocimiento profundo del mercado anglófono. La novela tiene a Oscar Wilde como uno de sus protagonistas y esa es parte de la gracia de la historia. Un saludo a toda la comunidad.
I am always so disturbed at hearing stories like the one you mention about authors having bad experiences with editors. Not only does it damage their perception of our field in general, but worse than that, it can do so much damage to a writer’s work and their psyche.
I love that you tout sample edits. I do too. You wouldn’t buy a car–or even a mattress–without trying it out, and this is too important, intimate, and frankly pricey a proposition not to see a potential editor’s work directly, and find out whether you are a good “fit” for each other. Thanks for the post, Jim.
THE best article I’ve ever read on this. So very useful!