Editing Begins

As I mentioned in an earlier post, I’ve always had outside input for my work before turning it in to my publisher. A fresh perspective is vital to make sure everything in my head actually made it to the page.

But even if I’m turning in my best to my publisher, I realize there will be areas that need to be addressed. I love the editing phase, and welcome my editor’s input because I know she wants the same thing I do: to make this book the best it can be.

I think a lot of writers have doubts and fears about editorial input. Remember that joke Steve Martin made regarding the book he wrote (I think it was Shopgirl and the joke debuted at the Oscars). Anyway, he said: “My editors loved my book. They didn’t change a word. It’s on page 179.” (Or something like that.)

So I guess it’s common to wonder if the editor is going to want to change every word in the book, but as I’ve said, I look forward to this first discussion about edits. Even if there are a number of things to talk about, my editor never fails to start with the good stuff first. That’s the way any critique should begin, by the way, pointing out the strengths. Whether a writer is in a critique group for the first time or is a seasoned writer talking to an editor about a current WIP, taking those first few moments to highlight what’s working can set up the best attitude for receiving the critique.

I savor hearing about which scenes or lines have stood out in my editor’s mind, what aspects are really working. Knowing my editors are excited about the project affirms that the overall project works. I’m reinvigorated to do whatever changes are necessary to make the book the strongest it can be.

So, for specifics. One of the things I’ll be addressing in the revision stage is my heroine. This is so interesting to me. Over the years I’ve talked to a number of other writers, particularly those who write as I do, with a romance either the focus or at least part of the novel, and it’s the heroine who often needs the most tweaking. I think it’s because, as writers of romance, women writers are more than a little fascinated by the hero. He’s one of the reasons we write romance to begin with. And even though the writers I’ve talked to about this are women just like me, it’s him we can capture more easily on the page, rather than the heroine. Reason might say we should understand the female role better, and perhaps we do but we take for granted that we know the female role and work harder to capture the male characters. Or perhaps we just have more fun listening to the heroic characters in our head.

It’s also interesting to me that other issues my editor raised are things that I either grappled with myself or wondered about after first pushing “send” on the project. Someday perhaps I’ll follow my own gut instincts and try addressing every aspect I have doubts about to begin with—if I have the time and energy at that point of deadline. But sometimes it takes a really fresh eye, between the editor’s and then my own after stepping away for a few weeks while waiting for editorial input, to see how on-target those gut feelings really are.

Bottom line? The areas that need tweaking took longer to discuss than those areas my editor praised. But I still came away excited, because her suggestions will make this book stronger than ever. The proposed changes don’t alter the overall story, and will enhance the themes, the characters, the voice that’s already there. Who wouldn’t welcome making changes that will make the book shine?

Besides, this is a ministry. Not just my ministry, but my editor’s and the publishing house’s, too—and this isn’t something Tyndale takes lightly. Before this book is ever offered to the public, this is an offering to God. We want to get it right. 🙂