The Care and Feeding of Editors
Welcome to Care and Feeding of Editors with Rita-nominated Allie Pleiter. Allie’s going to walk us through her 5-step program for a successful author-editor 
relationship. Please be sure to stop by the comments section below. Allie has graciously offered to pop in and answer your questions.
Allie, the classroom’s all yours!
Writing is an art, but it’s also a business. With some partnerships unlike any others. And, if we’re honest, with some partners unlike any others. We’re artists, which makes us…um…given to emotion. That makes us great writers, but ask the spouse of any writer and you’ll discover we’re…challenging…to live with. Or work with. Still, a solid relationship with your editor can be one of the greatest assets a writer can have. So how do you get there? Here are my tips for crafting a great relationship with that person on the other side…
1. Look at the target, not the trajectory
When you disagree with an editorial comment, chances are it’s not the goal he had in mind that gets your creative juices in a jam, it’s how he got there. Ask for clarification as to what he wants, what he’s after, and then you can call upon your talents to get you there in a way you both endorse.
2. The first 24 hours don’t count
Pick someone else to call when you pitch a fit–not your editor. When you get that l-o-n-g rewrite letter, that pathetic royalty statement, that “no thanks” on your next project, STOP. Discount your reaction for the first 24 hours. Give in to your impulses to kick and scream, to feel unappreciated and misunderstood, to burn your manuscript in righteous indignation (okay, don’t give into that one). Recognize that how you react is not necessarily how you should respond. You should react to your friends, your dog, and perhaps your agent, but wait until you can respond to your editor. When you can clearly state your position, when you can see the distinction between the edits you agree with, the edits you might be willing to try, and the ones you can’t abide by, when you can articulate your concerns and your questions in ways that are businesslike rather than emotional, that’s the time to have a productive conversation.
3. Treat her like a human being
She has birthdays, bad days, tough meetings, personal triumphs, and a favorite flavor of ice cream, just like you. Be nice. Thank her for going to bat for you. Remember her birthday. Call and apologize if you bit her head off when she asked you to revise your synopsis. Just because you’re making art doesn’t mean you have to go all artistic on her. Aside from being just plain the right thing to do, there’s a secret advantage to this: The more human she is to you–and you to her–the harder it is to go to war with her. And that’s a good thing, because you are not enemies. You are iron sharpening iron.
4. Do your job
Sounds obvious, but it’s easy to forget this is essentially a job. A very cool, very artistic, very exceptional job, but there is a product to keep in mind here. Deadlines are your job. Granted, if a travesty occurs, that’s another story, but in most cases what separates an amateur from a professional is the ability to get the job done. Many things in this business you can’t control, but you can control your professional reputation; you can be the writer who delivers. DO NOT call two days before your deadline in tears and say you need an extension. If you do need an extension, call at least two weeks before your deadline so that proper plans can be made.
5. Decide which hill you’re ready to die on
You’re going to disagree. There will be things a publisher wants that you don’t want. But they are the publisher, and they have the right to want them. You, however, have the right to know when enough is enough. When your professional or personal integrity is at risk. But it had better be a big, whopping issue for you. Dig your heels in only when absolutely necessary, and only after all possible compromises have been exhausted. And talk about it with your agent first, so that you know the potential fallout and are prepared. I’ve stood my ground on rare (and I do mean rare) occasion, and never regretted it. I’ve also never regretted being reasonable and easy to work with. And, you know, they aren’t mutually exclusive.
There you have it–my five point plan for editorial detente. Keep these in mind, and you may very well be the author in demand.
* * *
Thank you, Allie!
RU Readers, have you ever come across a time when you had to step away from the phone/email so you didn’t make a BIG mistake? For our pre-pubs, do you have any editor-related questions for Allie?
Be sure to join Kelsey on Wedesday – the Man Panel’s back!
Author Bio:
An avid knitter, coffee junkie, and devoted chocoholic, Allie Pleiter writes both fiction and non-fiction. The enthusiastic but slightly untidy mother of two, Allie spends her days writing books, doing laundry, running carpools, and finding new ways to avoid housework. She grew up in Connecticut, holds a BS in Speech from Northwestern University, spent fifteen years in the field of professional fundraising, and currently lives in suburban Chicago, Illinois. The “dare from a friend” to begin writing nine years ago has given rise to a career spanning two parenting books, eight novels including the multi-nominated MY SO-CALLED LOVE LIFE, and various national speaking engagements on faith, women’s issues, and writing. Visit her website at www.alliepleiter.com or her knitting blog at www.DestiKNITions.blogspot.com
(No Ratings Yet)
Loading ...
Hi Allie,
Thanks for joining us today!
Can you tell us a little about communication with your editor? I’m sure it varies, but how often do you talk to her? Do you send her great reviews? Do you cc: your agent? How do you know when to talk to your editor rather than your agent?
Can you tell I’m unpublished?
Thanks,
Tracey
I speak with my agent whenever I have a significant issue to discuss. I’ll email her with small details, or email her to ask to set up a time for a phone conversation for more complicated matters. We’ve been working together for all of my Steeple Hill books, so we’ve established a very strong relationship. I’d “budget” my communication a bit more, perhaps, if we were on our first book together. I talk to her first unless I need to “process” something first with my agent to get a better perspective. And I copy my agent on anything that might involve her or anything I think she should be aware of, but not every small detail. My advice? Ask your editor how much/little communication she likes. Would she prefer you bunch up a collection of issues into one larger email, or send questions individually? There is such a thing as too much, though. Think of her as your boss…try to go to her with solutions or choices instead of just going to her with problems. And yes, always share good news!
OOPS– on that previous email I meant to open with “I speak to my EDITOR.” I just shouldn’t attempt this stuff before the second cup of coffee!
Hi, Allie and welcome to RU. I’m curious if you have had the same editor all along. If not, how was the transition to the new editor? I’m sure there’s an adjustment period when working with a new editor because both the writer and editor need to learn the other’s inclinations, strengths, weaknesses, etc.
Allie -
Welcome to RU. We’re delighted you’re here.
You bio caught my attention because I was a fundraiser at one time, too! What one or two tidbits did you learn in your former career that have helped you in your professional interactions as a writer?
Thanks so much!
Kelsey
Yes, I’ve had the same editor for all of my Steeple Hill books, although because I’ve written for several SH lines I’ve worked with other editors as well in partnerships. I do think it’s fine to ask them how much communication they want (agents may have some insight on this as well). I’m well aware that the long, strong relationship I have with my editor is a rarity and a gift, but I’ve worked to make it that way, too.
As for Kelsey’s fundraising question, I think the best lesson I learned was how to hear “NO” as “NOT NOW”. Fundraising is about weeding through the “no”s to find the “yes” you need. The journey to publication works much the same way. You can’t take an individual “no” as a personal insult. It’s a moment in time between two entities. You take what’s useful from that “no” and move on to the next opportunity. Fundraising is actually a very good education for writing, I think.
Morning Allie…
Thanks for the editor info! I’m hoping I can use it some day…=)
What happens when you strongly disagree with your editor, and refuse to make the changes they want? Do they just say oh well then, that’s ok…..or do they threaten to not publish your book? Or does everyone work towards a compromise?
carrie
Carrie-
I can only answer your question by telling you that twice I’ve set up a phone call to talk about refusing to make a change, and both times I’ve changed my mind by the time of the phone call. So I’ve never really “locked horns,” but I also really, really respect my editor’s judgement after so many books together. It’s never come to threats. It should never come to threats, we’re supposed to be professionals here. In most cases compromise has won the day. Like I said, if you dig in your heels, you’d better do it with your eyes open as to the fallout–personally and professionally–it’s going to cost you. There are times when it’s a fair trade. But they had better be few and far between and dire in my opinion.