Meet the Editors - John Hudspith

John Hudspith

Let’s start with you – how did you become an editor?

Many years ago I got involved with two peer review sites and became addicted to critiquing the work of others. I found the review process: dissecting, analysing and being forced to explain my analysis with intelligible written words, both illuminating and strangely satisfying. So much can be learned about the writing craft by practising the objective review process, by writing it down. My reviews were well-received, one writer asked if I could apply the same to the whole novel and there was my first client. Word of mouth brought more writers my way and within a year I was a full-time freelancer.

What kind of editing do you do?

Some might describe what I do as `heavy` editing. But see, that depends on the level of understanding of the craft the individual writer is at; some needing more help than others. `Help` being the key word here, because when you employ an editor, you must realise he is not a machine or robot programmed to exactness and thereby guaranteeing perfection with your work. No, your editor is a hired help, a fellow of the craft, a writer himself, and what you are in fact doing by employing this chap or chappess is handing a fellow artist a chisel and inviting him to give you a hand. And that is exactly what I do; examine structure, pace, characterisation, dialogue, mood, tone, props, production values and camera angles and give a hand with getting these things into shape – ensuring all the while that the writer’s voice/style receives the most important enhancement of all and that `story` works.

How do you approach working with a client on a manuscript?

I ask for three chapters, synopsis, what the inspiration is for the work and a little information about the writer. I read the chapters, study the synopsis, then provide an appraisal along with the first chapter edited and a quotation for completing the work. There is no charge for the appraisal and sample edits. Before any writer engages with me I want them to see what I can bring to their work. Before parting with your hard-earned, always ask for a free sample and ensure the editor engages with your work, your voice, and can bring something delicious to your table. If your editor doesn’t make you drool, find one that does.

How would you describe a successful author/editor relationship?

A successful editor will be aware of the conventions and reader perceptions of every genre in which he works. A successful editor, with in-depth knowledge of the craft, will teach his writer these things of reader perceptions and camera angles and voice and the nuance of words. To edit the work of another and watch them learn as the process moves along is to watch a writer evolve and I’m privileged to have experienced this many times upon reading the work of returning writers and finding they have taken on board all I said about narrative POV values and mood creators, and their word choice is now so picky I could cry. And so it goes on. A successful author/editor relationship is one of passionate teacher and hungry pupil.

How does the situation differ when you’re editing non-fiction?

Non-fiction covers only a small area of my work; author bios, CVs, web pages, that kind of thing. However, I was recently approached by a woman who had written a memoir, secured an agent, but had had no bites. The writer felt sure she had a book worth reading and asked if I could take a look. This was a challenge; the subject matter was harrowing and real: coping with the death of a child. Geves Lafosse and her family had lost Juliette to leukaemia at the age of five. Could I do this writer, this mother, this family, and most of all Juliette – justice? I investigated with trepidation, applying the elements of good storytelling which meant considering restructuring, de-fluffing, and looking closely at word choice and I discovered that `story` could be enhanced without changing the reality of it. Structural changes, de-fluffing, word choice, camera angles, all went to improving reader’s experience. 

Look out for `Watching Petals Fall` by Geves Lafosse. A beautiful memoir.

http://geveslafosse.com/

What kind of genres do you prefer to work on?

Something excites me in reading any genre and that is the author’s mark; the heart of his voice; his tricks and trademarks, those natural in-built mechanisms employed subconsciously as writer’s slit wrists soak his soul into the page. It is this that makes each writer, and so it matters not genre but voice. However, I’d never say no to a dirty weekend in a haunted house.

I’m intrigued to know how you get into the writer’s voice, how you know what kind of words might work, what sort of sentence rhythm will fit and how you know it will still sound like the author, not the editor.

A writer’s voice is the storytelling voice. I imagine I’m sitting across from my writer, staring over the campfire flames, listening to story being voiced out loud, and watching every inflection. Those nuances I mentioned earlier; how the writer subconsciously employs the various tricks, connectors, scene-setting techniques, tension pulls – those are the roads to unique voice and rhythm – writer’s DNA.

Robert Gottlieb says the editor’s relationship to a book should be an invisible one. Do you agree?

Invisible in that writer’s style/voice remains intact, yes.

In the age of independent publishing and authors doing it for themselves, does the future look rosy for editors such as yourself?

If you mean busy – yes. However, as in any trade, there are cowboys. Be sure to ask for that free analysis/sample and that your prospective editor connects with you and your work before scooting off to Paypal.

Writers often agonise over blurbs and synopses. Would you be the kind of person who could help a writer distil the essence of a story?

Distilling a five page synopsis to a one page synopsis is a favourite undertaking; almost akin to editing a short, or stripping back flash fiction for word count. I adore the process of peeling away the unnecessary and leaving the necessary. And the same goes for blurbs; knowing how to punch with minimum effort, how to grab with words, while understanding reader’s perception requirements; this is the key to successful brevity.

What do you write?

I’ve published two books in the Kimi series so far; paranormal sci-fantasy with aliens and crows. I’ve tried my hand at many short stories which I’m publishing as an anthology, and the WIP is an adult fantasy horror.

John’s editing services: http://www.johnhudspith.co.uk/

Kimi’s blog and books: http://kimissecret.wordpress.com/about/

Meet the Editors - Charles Blass

Charles Blass

How did you become an editor?

I always loved to write and had great English teachers, but the trade of editing started from proofreading. I‘m from New York but also grew up in California. In NY, my profession was legal proofreading and paralegal editing in the corporate legal environment, document production, working long hours and often through the night.

What kind of editing do you do?

Still legal editing and proofing, some fiction, some non. It’s whatever is needed for the author – that might be radical surgery and always within the proper context of voice. Context is everything. Fine details and bigger picture, adjusting as needed within the tolerance of the situation.

Let’s talk about fiction. When working with a client where do you begin?

Depends on the relationship, the situation, the material and always respectful of their needs and their audience. The heart of it is the message, what the author’s trying to convey. And obviously, deadline, rate, focus.

So you start with a lot of questions.

If it’s not already clear, it has to be. I need to know the main message, purpose, theme, and who’s receiving it. We need to be on the same page. Methodology, mode of communication, specific about details such as working in WORD with Track Changes. I offer comments and suggestions more than making decisions, other than clear corrections. There’s a kind of intimacy between an author and an editor – the author has invited the editor inside their mind, with the aim of perfecting their message. Perfection is a funny term, but I do strive for excellence. This includes, form, content, rhythm, tone, language, texture and so forth. I’m interested in a wide range of composition and creativity and I bring this to my editing work as well. I shift between the micro and the macro – the big picture and each pixel.

What’s a successful author/editor relationship?

It comes down to communication in both directions. If it’s positive and clear, the work has the best chance of being useful and efficient. If the author is clear about what they need from you, and secure enough to open themselves to criticism, and ideally, trusting and respecting my experience. Feedback is a dialogue and can be delicate, so sometimes a phone call works better than email.

Does the process differ much when editing non-fiction?

Not really. It’s back to the author and the nature of their work. Context, format and timing tend to be more of a consideration in the business environment, but supporting the author in terms of message and voice and audience, my approach is pretty similar. Maybe there are particular practice areas including precise terminology that I need to become familiar with. Especially at the beginning, there’s a learning curve.

Do you have a preferred genre?

I’d say I’m genre-agnostic, with the caveat that if it’s offensive, I don’t want to deal with it. I’ve only had one case where I turned a manuscript down because it was offensive.

Because it was poor writing or offensive subject matter?

Both. I prefer to work with writers that I like, either for craft or ability, but that’s not essential.

How do you immerse yourself in the writer’s voice?

I love this question. I have no magic formula, I have many years’ experience and I love language, art and science. I’m continually growing as a human being and this comes into who we are as human beings. I feel I’ve lived enough to have some terms of reference in both knowledge and language, cultures, characters, situations, attitudes, motivations and mentalities. It’s about tuning in and drawing on experience. Talent is a part of it, and I give great credit to my parents and teachers. Voice, words, rhythm, they’re all essential and work together in a grand choreography. Punctuation ... I’m a huge fan. It’s microsurgery, but the slightest fixes can do wonders.

Keeping the author’s voice is fundamental, but it’s back to the dance. It can be quite a fine line, but if you’re tuned in, it happens. As soon as the ego comes in, you’ve crossed the line. Maintain a sense of perspective as to why you’re doing the work and for whom.

Robert Gottlieb said the role of an editor should be invisible.

Yes, on the face of it, in the final product. But in terms of collections and compilations, the editor does have a presence and in a way, a voice. For example, one of my favourite projects I’ve worked on was a collection of the writings of Jimi Hendrix, and my editorial presence was a part of that.

Will the rise of indie publishing benefit people like you?

I hope so. I’m a fan of self-publishing. A similar kind of explosion has been happening in the music world. So the answer is yes, surely, but how can we make the connections? All authors need an editor, if only for a second opinion, so I’m interested in the framework which brings the two together. I’m a teacher and a cheerleader for good language so I encourage any author to seek an experienced editor. Excellence is closer than you think.

Writers agonise over blurbs and synopses. Could you help with that?

Yes, I like that process. It’s not easy and can be quite painstaking. My main tool in terms of technique is mind-mapping, and that’s how I approach it.

Do you write?

Yes. A wide range of things, but probably the most consistent would be poetry and lyrics. I’ve done a lot of business-related writing, and also liner notes for music projects. I also come up with titles – for example, I have a huge collection of band names, but I have no idea what to do with them.

What’s your view on editors appropriate to nationality? Is it better for an American to edit a US author’s book? Would you feel confident about tackling a British writer’s work?

I think it depends on the editor. Personally I would feel confident − due to my experience with England and the range of patois and cultures I encountered for decades in New York − in tackling most material, but I think the most important thing is that the author feels comfortable.

http://charlesblass.com

Tips for time management

By Sheila Bugler
For most writers, finding time to write is always a challenge. Unless you’re a trust fund baby or have a rich partner willing to support you, chances are you’ll have responsibilities which cut into precious writing time. There are occasions, too, when a lack of time is a great excuse not to write. Because, let’s face it, no matter how much we enjoy the process of writing, having to sit down day after interminable day to do it can be a whole different challenge.

The key message I want you to take away from this article is: don’t let a lack of time prevent you from writing. If you’re serious about becoming a published author, you can make that happen – no matter what time constraints you have.

I wrote my first novel while my children were both young, I was working and my husband had a job that took him away from home a lot. Finding time to write on top of that was exhausting. And yet, I was so sure this was what I wanted to do. So I started getting up early – about 4.30 or 5.00 – and writing before my kids got up and the day started. It wasn’t easy, especially during the dark winter months, but I was determined to get that first draft done. And I did. If I had an hour and a half to myself, that was a good morning. Often I had far less than that. But even if I only had fifteen minutes, I made sure I made the very best use of that time that I could. And so can you. Here are my top tips for making use of whatever time you’ve got.
Set yourself a daily word count. This is the single most important thing you can do. In his wonderful book, On Writing, Stephen King recommends 2,000 words a day. I found this too ambitious and aimed for 1,000. I suggest you try for between 500 and 1,000 words a day. Just think, if you write 1,000 words for 100 days you’ll have created a 100,000-word story (a decent size novel, in fact). Obviously, the word count will depend on the tools you use. If you are a fast touch typist and use a computer, then 1,000 words a day is reasonable. If your keyboards skills aren’t great or you prefer to use pen and paper then your daily word count goal should be lower.
Set aside a dedicated time each day for writing. Don’t make it too long. An hour or two hours maximum. More important than the length of time is the amount of words you write.
Get your first draft down as quickly as you can. Stephen King recommends a period of no more than three months for this. My first draft took about six months. It was rough as guts but that hardly mattered. I had something I could work with now. Sure, it took another nine months to rewrite that first draft and turn it into something readable but that sense of achievement as I typed THE END for the first time was a great incentive to continue. And that takes me onto the next tip.
Keep going forward. Don’t look back. Never, ever go back over what you’ve written. Keep writing until you get to the end.
Don’t sit staring at a blank page waiting for inspiration to come. It won’t. Force yourself to write something, even if you think it’s utter rubbish. Anything is better than nothing. If your story isn’t flowing, write an interview with your central character. Ask them questions – where did they grow up? What inspires them/drives them/makes them happy and sad?

Sheila's first novel will be published by Brandon Books in September 2013. You can find details of this, along with her free online writing workshops, at her website: www.sheilabugler.com

Books About Writing - Triskele Toolbox 1.

A Personal Overview by JJ Marsh

The Art of Fiction – David Lodge
Ideal as an introduction to terms and examples in situ. The book is a collation of articles written for The Independent, so each chapter is succinct and to the point. Lodge uses examples from a wide range of literature to explore such concepts as Stream of Consciousness, Aporia and Metafiction. Focused on British and American literature, but warm and accessible. A likeable tutor.

13 Ways of Looking at the Novel
 Amanda Hodgkinson recommended this. I often describe a book as a ‘gem’, but this is an entire treasure chest of sparkly riches. Jane Smiley takes us on a personal journey around the literary world, asking hard questions, positing theories and offering advice. Her range is astounding and inspirational. My copy is bristling with Post-Its. What I love about this book is that it addresses the writer AND the reader. And hopefully, it makes me better at both.

Negotiating with the Dead – Margaret Atwood
In the same way as David Lodge’s book began as articles, Atwood’s work first found an audience as a series of lectures for Cambridge University. With the same witty, intelligent and thoughtful tones used in her novels, she talks about writing, writers and her own experiences. It’s unpretentious, generous and honest about being a woman and a writer. Less of a ‘how to’ and more of a ‘why’.

On Writing – Stephen King
Subtitled ‘A Memoir of the Craft’ and as always, he nails it. A personal take on how his work developed; he never claims genius, but champions hard work. Writing is a craft and he treats it as such. One can learn a lot from a skilled craftsman with his feet on the ground. A very human approach and rammed to the rooftops with quotable quotes. This is a pleasure to read.

Techniques of the Selling Writer - Dwight V. Swain
From the man with a name like a court case, one of the most practical books on my shelf. From Swain I learnt scene and sequel, a template I always use on first rewrite. His story elements technique is also a great way to find the basis of a blurb:
Write two sentences – one statement which establishes character, situation and objective. One closed question which nails opponent and disaster.

            When humans start growing to twelve-foot high, John Storm wants to find out why.

            But can he defeat traitors in high places who would kill him and fake an extra-terrestrial plot?

The Art of Dramatic Writing - Lajos Egri
Egri is a playwright but his principles hold for any kind of narrative. Premise – character – conflict. Egri’s reduction of premise if the best I’ve read.
Every good premise is composed of three parts: the first suggests character, ‘Ruthless ambition’; the second suggests conflict, ‘leads to’ and the third suggests the end, ‘destruction’.
Best advice: Prove the premise through the character’s choices in conflict. Egri showed up my amateurism in making the hero fully rounded and the baddie just plain bad. I should return to this book more often.

Story - Robert McKee
This one is my favourite. McKee is a screenwriter, but like Egri, the principles of storytelling are universal. The most useful element for me was the Value change – each section starts at one point on the scale and must have changed by the end. I mark every chapter accordingly. He’s precise and clear on set-ups and payoffs, exposition and storyworld, with smart references to cinematic examples. I will never lend my copy of Story to anyone. But thanks to Libby O for lending me hers.