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The garden of reading

January 25, 2011 by BW Leave a Comment

I have often claimed that if we were ever to run out of space at home, I could build us a rather nifty extension using nothing more than my book collection. We’ll ignore, for a moment, the fact that it would probably be said book collection that caused the space problem in the first place, and no comments, please, on the fact that a goodly proportion of the original house search centred around finding somewhere with enough walls for all the bookcases. The point, my friends, is not that I am a book hoarder; it is that I am a reader. I am also an editor. In my experience, the two are inextricably entwined.

I don’t know any editors who don’t have heaving, towering private libraries, regardless of the amount they read for work. They are voracious readers, every one, drawn to the job itself for the very reason that it involves the written word and the reading thereof.

So it astounds me that apparently people sometimes apply for roles as editors despite having no interest in reading. I struggle to understand this. It’s the same strange affliction that causes people to decide they want to be writers even though they only read once a year (if that).*

I am not sure what these wannabe editors are hoping to achieve. Where do they see themselves going? What job do they really want? Do they have a somehow-related ambition they’re trying to fulfill? Because if you don’t like reading, editing probably isn’t the role for you, despite the many posts lately from editors saying that they don’t get to do much reading at the office. The fact is, reading (and understanding reading habits) is intrinsic to the role.

As far as I know, few of these non-reading types are successful. The competition for editing roles, particularly in book publishing, is enormous and you can sometimes wait years for a gap to open up.  It’s hard work to get in – a degree in the right subjects won’t cut it; you need to be able to prove your interest and experience beyond that, and it’s even harder work once you’re in. Most editors put in long hours at the office and take work home with them regularly – a lot of the time that’s the only way they can get through all the reading that’s required since office hours may well be taken up with meetings and other editorial duties. If you’re a freelancer it’s likely you’ll work most weekends and public holidays.

Editors do this job for passion (you’d want to, you certainly don’t do it for money or fame). So why on earth would anyone try to do this without it?

And how could you even attempt to do the job without being a reader?

Quite apart from being able to read and enjoying the written word, there is the appreciation for the act of reading. This is something that can’t really be taught effectively. You need to be an avid reader to know that how you read, how you see the words and take in the information, how you turn the pages (or scroll down the screen) differs entirely depending on whether you’re curled up with your favourite novel, relaxing with a magazine, sitting down with a newspaper, dipping into a how-to manual, or surfing the internet. And our habits are changing all the time.

How can you truly appreciate the differences if you don’t have your own reading experiences to fall back on? How can you edit a work proficiently if you don’t understand how words feel and flow in different situations?
These are mostly instinctive parts of the job, not things you can mark off a checklist.

As an editor, part of your role is to make sure that the words you are presented with by the author or publisher fit the type of publication being created, whether that is a novel or a business magazine. And let’s not forget that all this work: the writing, the editing, the publishing, the marketing, is all for the reader; so as an editor another part of your role is to look over those words as that reader.

Would you be able to do any of these things if you weren’t a reader yourself? Given you might have to ask these questions during your “free” time, after work and at weekends, would you even want to, if reading wasn’t something you did for pleasure?

* This is another post in itself. A long one. Although the interwebs have already covered it elsewhere…

Filed Under: Editing Tagged With: editing, reading

Fact-checking across the universe

January 20, 2011 by BW Leave a Comment

One of the things I love about my job is the information-gathering aspect. I love snaffling up little factoids and random pearls of wisdom, which is just as well, because at times the task of editing falls squarely in the realm of fact checking.

In this case, it helps to love research.*

How much fact-checking a particular job may entail depends upon a great many things. Not least are the subject matter and genre, the style of publication, the expectations of author and publisher and, let’s not forget, the budget and deadline.

Different publications work in different ways and may have entirely different expectations. I have worked for magazines where the fact-checking portion of the sub-editing role could take days for a single travel article, such was the accuracy required. I would spend hours checking map books and atlases, perusing the internet, and finally on the phone to hotels overseas (in different time zones, speaking to people whose first language was certainly not English) confirming: the transfer vehicle was a coach and it was blue, the precise direction it took from the airport (including road names), the colour of the marble in the hotel foyer, the time at which the towels were put on the sun lounges around the pool, and the kinds of cocktails available in a bar.

And no, I am not exaggerating.

This contrasted mightily with a stint at a major newspaper, where I expected similar levels of checking would be necessary. Here timing was everything and journalists were assumed to have been correct in all details. In this particular department, sub-editors were not encouraged to check anything but major facts or obvious potential errors.

Books are different again.

The fact-checking element is slipped in wherever timing allows and is different probably for every book, never mind for every editor or publisher. And there are always facts to be checked, no matter how fantastical a tale the author has woven.

While non-fiction and academic works have obvious fact-checking requirements, I have edited crime novels that, for me, meant checking Tube stops and car park locations**, never mind murder techniques (and yes, I check those too, but not Dexter-style). I have researched Ninja weaponry on a surprising number of occasions*** as well as helicopter treads. I edit fantasy, which means ensuring that facts hold up within invented worlds – sometimes this means tracking back through an entire series to make sure the magic works as it should. And yes, I mean facts, as opposed to consistency; a subtle difference.

At the end of all this, my brain is usually bursting with information, none of which is any use to anyone, except possibly the author, who already knows far more about the topic anyway. I forget all of it before I can use it at a trivia night and nine times out of ten, everything was perfectly accurate in the first place.

But this is another one of those invisible jobs an editor does. Next time you pick up something to read, even if it’s just a quick flick through a magazine article, remember, not only did the author pour his or her heart and soul into the words on the page, but at least one editor probably spent countless hours double-checking the facts as well as the spelling.


*It is, admittedly, less helpful to get so involved in a topic that you veer off entirely and become, for one week only, a self-described expert on 16th century building materials when you only needed to know whether it was acceptable for an author to use that word once as a passing reference.

** All hail Google maps! (And, indeed, the interwebs in general.)

*** Seriously, when you combine some of the things I have had to research over time, I have to wonder if I am on a watch list somewhere. Although I am probably in good company, since I am checking other people’s work.


Filed Under: Editing Tagged With: crime, editing, fantasy, fiction, research, science fiction, speculative fiction, worldbuilding, YA

Identifying your characters

January 13, 2011 by BW Leave a Comment

Like many others, I wasn’t born here. I was born, and spent the first part of my childhood, on the other side of the world. Culturally similar, sure; English-speaking, by definition. But unmistakably different.

I’ve spent more of my life here, however, and if you were to meet me for the first time now you’d have no idea I wasn’t a local. Mate.

This means that people, even close friends and those from my “native country”, tend to strip me of my historical identity. “Pfft,” they sneer. “You left years ago. That doesn’t even count.”
I find it breathtakingly hurtful – what “doesn’t count” is part of my make-up, but there’s no malice intended behind their words. Perhaps it’s even a fair point – I have yet to make it back to the country of my origin. No accent. Gone too long. I don’t belong there and if I went back now, I am sure I would feel out of place.

But none of this takes into account that even in this country I was still raised by a family who followed all the customs and culture and language (yes, English, but used in subtle and different ways) of their origin. And there’s much to be said for memory and the formative years. I’ve lost count of the times as an adult I’ve recalled something poignant from childhood that has no relevance here; or similarly, failed to catch the significance of a story or witticism that any true local would only have needed a hint of to nod knowingly.
It’s rare, but every now and then there is a jarring moment of displacement, like a flicker of TV static; a reminder that something doesn’t quite fit – and that something is me.

This by no means a cry for sympathy or empathy. It is merely an acknowledgement that sense of self, of place and identity, can be subtle, yet pervasive. It’s the little things that prompt each of us, every now and then, to ask the question “who am I?”

And as it is in reality, so it is in fiction.

One of the best compliments an author can receive about their writing is when a reader says that they really believed in a character. But characterisation is one of the hardest things to get right and a lack of believable characters can let down even the most powerful story. So how do you go about creating them?

Some of the most successful stories are those that build worlds and characters around those themes of identity and place – either deliberately or subtextually. Even if that is not something you are concentrating on, it can be helpful to keep these things in mind when you’re creating your characters. You don’t have to spell everything out, but when a character is placed in a given situation, it is worth remembering their background even if the specifics don’t make it to the page. Ask yourself who that character is, and why.

Your character’s childhood, their upbringing, their interactions with others and the world around them all link back to the identity that, as author, you have created (or failed to create) for them. How they react to things and how they are placed in the world are equally informed by their background, and can feed into their characterisation and differentiate them from other characters in the narrative.

What do you think? How do you feel about identity? And how do you “create” your characters? Do they spring fully-formed, complete with life-history, into your head? Do you make character notes? Or do you prefer to work with a blank slate?

Filed Under: Editing, Writing Tagged With: characters, editing, fiction, reading, worldbuilding, writing

Editing a writer’s vision

January 5, 2011 by BW Leave a Comment

Photo by Boris Smokrovic on Unsplash

When I was about five or six, I was in a PE class; the teacher put on some music and made the whole class run around in circles pretending to be different animals. At that age, I had no fear of looking foolish and had a well-developed imagination I was well-used to indulging. When the call came for us to “become” beautiful butterflies, I spread my wings and soared around the room. I distinctly remember believing I could see sun-dappled gardens around me.
Boy, did I come crashing back down to earth when an irritated voice screeched my name across the room.
I hadn’t followed instructions. Real butterflies, as it turned out, did not fly that way; I was holding my arms wrong.
The teacher was unimpressed with my “creativity”. She couldn’t see my shimmering wings. I was similarly unimpressed – I couldn’t fly with her stunted vision.
We were both dissatisfied.

When it comes to working with an editor for the first time, many writers are, understandably, nervous. Writing is an essentially solitary business, and for a lot of people this might even be the first time they have let anyone outside of close friends and family read their work. Few know what to expect. While there is always the hope that the editor is going to return the manuscript with assurances that it is word-perfect and a guaranteed best-seller; there is the much greater fear of being mocked, laughed at, told to give up this silly dream of writing and leave it to the professionals. And of course, there is the fear that the editor will take over, that they will not understand the writer’s vision, or they will rewrite the manuscript and the writer will lose control.

Writing, then, takes a certain level of courage. First you must be brave enough to let loose and pour your heart out onto the page or screen in the first place. Then you must be brave enough to hand that creation over to a stranger and trust that they will not only take care of it, but that they will treat you and your feelings with kindness and respect as well.

It can be difficult for writers not to lose confidence during the editing process, particularly the first time they receive a manuscript back full of pencilled (or track-changed) crossings out and comments and queries. Every mark can appear to be a criticism.  It’s important to remember, however, why the editor is there. Ideally, the editor should help make sure that the idea that the author has in their head is the same one that ends up clearly on the page; that the story ends up being the best that it can be.

The editor is not there to give their personal vision of the author’s story; they’re there to ensure the author’s own vision is clearly conveyed. The voice, the style, the essence of the story should all remain the same. The editor is not there to interrupt the creative process or to take over but simply to ease the flow of the words across the page and smooth the edges.

The message to writers is the same as it was for six year-old me: guidance can be good, as long as it doesn’t stifle your creativity (but don’t get in trouble with the authorities).

Have you worked with an editor (or are you an editor)? What’s your experience? Do you have any horror stories? Or success stories?

If you have any questions about editing, feel free to fling me an email via the Contact Us link, or if you’d like to hear more about editing, writing and publishing, you can sign up for my newsletter!

Filed Under: Editing, Writing Tagged With: editing, writing

Case Study: The Falcon Throne

November 5, 2010 by BW Leave a Comment

Falcon Throne
Title: The Falcon Throne

Author: Karen Miller

Client: Hachette/Orbit UK

Brief: Copy edit

Job:  This was the first book in what is intended to be a sprawling saga. With series it’s important to remember that choices made in book 1 will affect books 2-10, and this is true for editing as well. This means being extra careful when checking details – and in this case meant creating a strong and detailed style sheet in order to ensure consistency – not just for the benefit of the other editors and proofreaders, but hopefully for the benefit of the author as well. Since this was to be so epic, it was a chance not only to track word and punctuation choices, characters, and place names, but also finer details of character appearance and habits.

Filed Under: Case Studies

Literary Agent

June 19, 2010 by BW Leave a Comment

Literary Agent services are through Alex Adsett Literary and separate to Bothersome Words’ editing services. Click through for submissions.

Filed Under: Feature

Writing Clinic

June 19, 2009 by BW Leave a Comment

The Bothersome Words Writing Clinic will be open for applications soon. Meanwhile, here are some past workshops…

Filed Under: Feature

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