Western Washington beat its old February – April rain record. Hunkering down inside to avoid the deluge, I’ve been providing reviews for other writers or begging beta reviews of my own draft fiction.
During this damp spring spent in fiction and nonfiction reviews and editing tasks, I repeatedly provided writers and reviewers with guidelines for how to review a manuscript. The tasks of a beta review for fiction or a peer reviewer for technical communications are different from an editor’s work.
My April Managing Up column for Steyer Associates is live: Lions and Tigers and Peer Review—Oh No!
Lions and Tigers etc. offers tips for 3 basic kinds of peer reviews in technical communications:
- Peer review as quality check
- Skill building through peer critique
- Mandated reviews as editorial replacement
As you might imagine, Continue reading
I have a new Managing Up post up for Steyer Associates that reflects on editor/writer relations in technical communications: Writer vs. Editor = Spy vs. Spy?
This time, I’m emphasizing what a manager wants to see—and yes, I’m brutal:
- Tech Writer: Your Job #1 is to please the Subject-Matter Experts who own the technology you’re writing about (or who own the business strategy) by preparing correct, clear content. Job #2 is to follow the style guide. If you’re worried about the editor marring your personal voice and style preferences, you aren’t doing your job.
- Tech Editor: Your job is to drive the corporate voice, enforce consistency in terminology and presentation, complete the legal edits, and serve as first, best reader to ensure clarity.
Read on for my specific guidelines in relation to the basic rules of collaboration: no fighting, no biting.
…and if you missed it, earlier notes on fiction writer vs. editor relations:
Is that Blood on My Manuscript? Or Are You Just Happy to Ream Me?
John Gardner said:
“Fiction does its work by creating a dream in reader’s mind.… One of the chief mistakes a writer can make is to allow…the reader’s mind to be distracted, even momentarily, from the fictional dream.”*
To achieve this goal through good editing of a fiction manuscript, two opposing kinds of intelligence drive the editor-writer relationship:
- If you’re the writer, you are the dream-maker, seeking to impress your imagination on the reader, to keep the reader immersed in your lucid, fictive dream.
- If you’re the editor, you serve as the ultimate reader, seeking to impose common rules of grammar, mechanics, and story structure to resolve any errors or distractions that might cause the reader to break from the dream.
No sane editor makes a claim of infallibility, but misaligned goals and differing professional experiences can result in problems in the editor-writer relationship.
Here are some cases where, beyond simple human error, you and your editor might get crosswise: Continue reading
Here’s an example of a custom style sheet to guide an editor in making choices for consistency in a fiction manuscript. If you don’t provide one as the author, the editor will have to create one.
See the complete style sheet for Artemis in the Desert as an example [pdf].
Shortly after Leta Blake posted her plea—Authors, Tell Me How Much Editing Hurts—I was walking on a long empty beach with a friend who spent the last thirty years as a literary editor, parallel to my thirty years in technical communications.
On our walk, with the Pacific Ocean crashing at our feet, we discussed how to help new writers get the most out of the writer/editor engagement. I’m sharing here our mutual thoughts about “first edit” experience for fiction writers preparing a manuscript for publication.
What Your Editor Does—and Why It Might Hurt
For a story that was supposed to be 80K words, the tentatively titled Monkey King Rides Again story mysteriously took on 45K extra weight after #nanowrimo, during which time I kept telling people I wasn’t making as much progress as I’d like.
Now I have red ink all over my hands because my editing pen sat in the penholder too long. Carved off 6000 words yesterday. Marked areas to examine for liposuction.
Yet I still have a list of images/ideas to add to make the theme and resolution work. Guess today’s edits are to finish the Adds so this MS can go on a gluten-free, low-carb diet, to be svelte by the end of the week.
Jugum Press is proud to present A Boy from Wannaska and A Girl from Sellwood as part of the “Voices of History” series, for which Lisa Tilton produced yet another great series of covers. … because Marjorie Wright Mortensen gave up on me and decided to write these stories herself. Continue reading
You might think this post is about you.
It might be.
I have a new “Managing Up” post at http://www.steyer.net on the tradeoffs that managers make:
Understand the Triangle: Cost + Time + Quality
My focus is on issues for contractor writer/editors and technical writing, but the principles apply most everywhere, at least in the tech sector.
Let me know what you think.
(And I apologize if you’re one of the writers or editors that I bullied into making mistakes. You and I know what quality is, and it’s sad that we can’t be paid to pursue our ideals.)
The “Memories of a Forty-Niner” manuscript came to me through my friend Chip Barker: 1912 newspaper clippings from articles originally published in the Newtown Bee in Connecticut. Here’s a quick look at how this text became Journey Into Gold Country.