Ode to an Editor

Okay, it's not really an ode. It's not even a sonnet. But it is heartfelt.

I think aspiring writers are sometimes curious about what it's like working with editors. I don't mean betas or CPs or copyeditors, I mean real live content editors. Exalted (if overworked) creatures who know enough about books and writing and literature to partner with writers and help them to be the best that they can be.

Working with editors is one of the perks of being professionally published. Finding the right editor is one of the most important creative relationships you'll form in your writing life.

That and finding the right tax accountant.

Ha! I jest. (But not entirely.)

Anyway, back to finding and working with editors.

I was reminded recently of how important it is to find that right match of skills and chemistry as I was working on a manuscript for Carina Press and Angela James. It's been a while since I worked with an editor that was entirely new to me. Angie bought my manuscript Fair Game based on a proposal I'd sent her. When the time came to write the book I was suddenly, for the first time in a long time, struck with insecurity. Angie and I haven't worked together a lot. What if she ended up not really even liking this book? What if I couldn't deliver what she wanted?

Gulp.

I had a sort of similar experience last year working with Nicole Kimberling of Blind Eye Books. Nikki did pretty much the same thing: bought a book based on a proposal. Now, Nikki and I are friends, so I knew that she was very familiar with my work and my style and my voice, but she was also having to guide me through a genre I'm not familiar with...spec fiction. Fantasy. And again there was this pressure of...what if I can't deliver the goods?

What if I...fail?

Cue the thunder claps!

Now let me cut to the chase here. Both Angie and Nikki were terrific to work with. These are two projects I feel proud of -- which is important. To me, anyway. And I think this is true for most writers. It might sound weird, but when you work in the arts -- any art, I suspect -- it's not just about making money. Not that I have any objection to making money. But it's impossible not to invest a lot of yourself in a creative project such as a book or a piece of music or a painting. That's why it's not as easy to be objective about criticism as it is in ye old day job. If I turn in a report and the math is wrong, well hell. I need to fix that. And it could be embarrassing, but it's not...personal. If you see what I mean.

So finding the right editor is a kind of validation, too. This person "gets" it. Eureka.

As a matter of fact, when it comes to content editors, I've been incredibly lucky in my writing career. And, regardless of what the uninformed may think or say, the attention my ebooks and small press books have received from editors like Angie, Nikki, and let us not forget Sasha Knight (AKA Ms. Eagle Eye) at Samhain has been consistent with any mainstream publisher I've worked with. (Better in some cases!)




Which finally brings me to Judi David, my editor at Loose Id.

Judi was the first editor I worked with in the m/m romance genre. Loose Id was the first ebook publisher I signed with and, frankly, I was a nervous wreck. I expected...well, I didn't know what to expect. And, I can tell you right now, that if things had gone a different way -- if Judi had been a different kind of person or a different kind of editor -- I would not currently be the household name I am.

Yes, I am a household name. Didn't you know that? My household name is Honey-what-the-hell-is-THIS-on-your-computer???

It's a name I share with a select few of you.*g*

Back to Judi who knows what I'm trying to say half the time before I've worked it out for myself. By now we've figured out a sort of shorthand, and I can turn in a very rough draft and she can read between all those lines that aren't there. That's what I call providing back up.

Nowdays there aren't a lot of hearts and flowers in the edits, but if I do the neurotic author thing, she knows what to say -- and it's always the right thing.

And it helps that she gets my humor.

And it helps that she's read a few books that aren't romance novels.

And it helps that she speaks up when we're in an area that isn't her area of expertise.

Turning in a first draft, a rough draft, is sort of like getting naked for the first time with someone. And even when it's an editor you've worked with before, there's an element of anxiety. You need to be able to trust that this person is going to tell you the truth, but also that she or he can look beyond their subjective tastes to the needs of the book, the audience, the market, the publisher -- that this editor is going to work with you to make the best possible book, but that it's still going to be your book, your story told in your voice.

You need to know that this person likes your work.

Do Judi and I always see eye to eye? No. But I trust her. So when we don't see eye to eye, I'm not afraid to let go of the side of the pool and swim out to the deep end. I know she'll throw me that life preserver if I really do need it.

So thank you, Judi. By the time each book releases, I'm usually too tired to mention it, but I appreciate all you do to make me a better writer -- and a happier writer because of it.