Editorial Advice To Listen Or Not To Listen

Editorial Advice: To Listen Or Not To Listen?

Whether you're an author publishing through traditional means or delving into self-publishing, you are going to want the feedback of a good editor or perhaps more than one. The difficulty for authors, especially those choosing self-publishing is when do you take an editor's advice and make changes and when do you determine you've gotten enough feedback? This can be a tough call, and it often comes down to the author finding a happy medium.

The first thing writers need to consider is how many editors are too many? In writing and researching Shades of Darkness, Shades of Grace, over the duration of the project seven editors reviewed the manuscript. Some of them were extremely helpful, taking an objective approach and offering suggestions that made for a better book. Others seemed to check objectivity at the door, letting their personal likes and dislikes influence how they felt the story should develop. By the time the book was completed, I felt as though I had let too many cooks into the kitchen, all fussing over the same pot, either adding spices or removing them.

What I learned from the editors I consulted were two simple things. One, you cannot make everyone happy. It's just not possible, so you write the best work you can, one that as many reader's as possible can relate to. Number two, as an author you ultimately have to decide if the suggestions editors make are enhancing your work, or turning it into the work of someone else. Again, it goes back to the idea of authors finding a happy medium that improves the work, but is still your own.

The first editor I contacted was probably the most beneficial. Prudy loved the book, but thought it should begin with the wedding because she believed this was where the story truly started. She also suggested plotting the story on a calendar over the specific number of years the novel took place. In this way, real life events could be woven throughout the narrative, giving the reader not only a sense of place and time, but information that might arouse their interest in other areas related to the story.

Another editor's feedback was more helpful regarding ways to improve my writing, rather than this particular story. She pointed out little tics in my style – for example using the same word too often, advice which I didn't just apply to the novel, but every other piece I've written. Her observation helped me expand my vocabulary and fine-tune my work. Two suggestions I took issue with was the fact that in the novel Kay and Tim don't have any children, and that as a minister's wife, this editor felt Kay should be shown in church more. I thought both points had nothing to do with the story and verged on stereotyping. I made this decision from my own experience of knowing childless couples where a spouse works in ministry.

One positive aspect of consulting multiple editors is that enough voices may convince an author to make a significant change. Out of seven editors, six wanted to see the ending beefed up providing the reader with an enhanced sense of satisfaction and closure. The one holdout was a good friend and her argument was that by expanding the ending, the author was taking the reader by the hand, when she felt their imagination could do the rest. Of all the decisions I made regarding Shades of Darkness, this was by far the toughest. Eventually I relented and significantly revised the ending.

Authors may also find themselves confronted with one editor who changes something, only to encounter another who changed it back. This was particularly true when dealing with the grammatical aspects of the book. The second editor was an old-school English major, so her placement of commas was more extensive. The fifth editor removed what she believed were too many commas and thus we had a full-scale "Comma War." When the last editor reviewed the manuscript, edited commas were being replaced. What I strongly recommend is authors select a specific grammatical style (such as the Chicago Manual of Style or Modern Language Association) and stick to it.

Ultimately, regardless of what an editor suggests, as the author you need to remember this is a subjective process. The final editor made a suggestion that would have entailed rewriting the entire manuscript in a way that I felt was not beneficial to the story. But because I thought the suggestion had some merit, I compromised and trimmed the scene to a point where I felt comfortable, thereby finding a happy medium.

BONUS : Edward Hopper: Capturing Private, Solitary Moments

I have a fascination with the paintings of the American artist, Edward Hopper. Somehow—whether by technique, imagination or subject matter—he is able to create the most compelling and evocative scenes, which stir my imagination.

One of my favourites is Automat an oil painted by him in 1927.

A young woman with a yellow felt hat sits absolutely alone in a barren restaurant drinking a cup of coffee. I look at this and immediately feel her isolation and loneliness as if it were my own. Is she running away? What thoughts are in her mind as she stares into the cup?

Right away, Hopper has got us speculating, as he does with all his paintings. Where did she come from? Where is she going? You're caught right in the middle of a story which you can "read" backwards or forwards in time. I was so taken with this painting that the woman in it became the inspiration for a character in a short story, The Thief, and now a novel which I am writing. Struck by her isolation and self containment, I called her Celia.

I search the painting to see what emotions Hopper creates and how he does it. Behind the solitary woman is a large window, blackened by an impenetrably gloomy night. The lights or reflections of lights recede into the background giving a murky, tunnel-like effect, leading to nowhere. The radiator, crouching at the left of the painting, seems just as isolated as the girl in the composition, but almost looks more communicative than her. The lonely, solitary moment is caught in time—permanently engraved on my mind.

Just think how many stories could grow from this one painting! Will someone, a boyfriend or family member enter that door, hoping to bring her back? If no one comes, where will she go as soon as she drinks her coffee? To a dingy hotel room? Onto a train to New York? That would be just like so many other Hopper paintings, which so often depict hotel lobbies, motels and railway cars. Or maybe she will change her mind and go back home.

Perhaps this painting speaks to me of the apprehension of the unknown as we proceed moment to moment through life. So often, we are unsure and tentative, fearing to venture out into the unfamiliar. Then again, maybe the girl is incapable of reaching out to others. After all, for me, Celia — the character in my story who was inspired by this painting — grew into a character that was desperate to get free of her self-imposed isolation from the world. And so, for me — art, painting, sculpture, and photography are so often an inspiration for writing. Of course, all art (whether it is painting or writing or music) speaks of its own time — that is, the time and place in which the artist lived.

Hopper painted much of his work in the twenties, thirties and forties of the last century, when rapid industrialization and urbanization were forcing people from their old dwellings and old ways of living. Consequently, so many people felt lost and displaced. And yet, the emotions evoked by his work are universal, whatever the time and place. Great art transcends time and place and touches a nerve in us all, which communicates those universal emotions and ideas to us. Just like a photograph, Automat is a permanent moment in time existing in a world which, at the same time, seems so transient.

And that is why such a painting as the Automat inspires me even today.