By Guest Blogger Jami Carpenter
Every editor needs a good toolbox. Photo by Stitch.
I was once asked what – or rather, who – makes a good editor, which raised a good question, one that took considerable thought. I have come to the conclusion that three elements are essential to an editor’s success: a skill set, a tool set, and a mind set.
Not surprising, an editor must be knowledgeable of and proficient in the rules of good grammar, punctuation, spelling, and so forth. A strong foundation in the basics is certainly helpful, but even if an editor didn’t win the spelling bee state championship or get straight A’s in high school English, these skills can still be developed through education: writing courses; a degree in journalism or English literature; an internship with a magazine, newspaper, or book publisher (or ad agency/marketing firm); and reading — anything and everything. Seeing how the masters wrote as well as how current bestselling authors challenge old-school writing is invaluable in developing an editor’s competency.
Realistically, though, an editor — novice or veteran — cannot know and remember all the rules of grammar, which makes reference material (the “tool set”) so necessary. Whether on the bookshelf or online, a dictionary, thesaurus, writing guide, and editor manual is a must. In addition to the latest editions of Webster’s dictionary and Roget’s thesaurus, I have the Chicago Manual of Style, Patricia T. O’Conner’s Woe is I, and Karen E. Gordon’s The Deluxe Transitive Vampire at my fingertips. The Grammar Girl at grammar.quickanddirtytips.com is bookmarked on my laptop. A veritable plethora of helpful material is available; even after several years of editing experiences and many years as a high school English teacher, I continue to use outside resources.
Perhaps most critical is the editor’s mindset; that is, the ability not only to be detail-oriented, consistent, and thorough, but the ability to enjoy the process — the plodding, unglamorous nature of the work itself. An editor takes great pleasure in finding an errant comma, a dangling participle, an absent apostrophe; appreciates a perfectly-worded sentence; and is willing to dedicate time and thought to improving awkward and cumbersome text.
Many people have the skills to correct and revise material, but not everyone has the desire to sit for hours and pour over page after page with a magnifying glass. I say this not to discourage potential editors (there is plenty of work for everyone), but to remind that editing can be grueling and unpleasant for those who are not well-suited to the job. Like working on a jigsaw puzzle, editing takes patience and perseverance; the challenge of finishing the manuscript (or completing the puzzle) thrills me, but in truth, does not bring joy to all.
And challenging it is! An editor walks a fine line between correcting and revising a writer’s work, while at the same time maintaining the writer’s voice and spirit. We are tasked with helping an author tell his tale more effectively, yet must remain mindful that the story is not ours. In addition to the standard grammar, punctuation, spelling, and capitalization errors that we address, we are often asked to trim a wordy document, develop a skimpier manuscript, provide commentary, suggest improvements, and still be cognizant of the original storyline and author’s style.
When I first began editing (not counting the years as an English teacher correcting and commenting on my high school students’ assignments), I was hired to proofread, which meant sticking to the basics — no revisions or changes beyond looking for common, flagrant mistakes. Once I had developed self-confidence and a level of competency with publishers, I was given greater flexibility in editing. It was exciting to be able to offer my own analysis and contribute to manuscript development and to form relationships, even friendships, with writers.
But it is also a greater responsibility, which must not be taken lightly. Writers are entrusting their “babies” into our care, and as editors, we would be wise to respect and honor this privilege. We must acknowledge the fact that without writers, there would be no use for us! We must take care to do our best. And like good plastic surgery, our best work is seamless and invisible.
Jami Carpenter is a freelance book editor who works directly with authors and publishers to get manuscripts ready for primetime. She does all types of editing from developmental (helps an author craft the structure and tenor of the book) to copyediting (wrangling all those errant apostrophes). As a long-time Las Vegan, she works frequently with the Las Vegas writing community and other authors from shore to shore. She lives in Bend, Oregon with her husband and an adorable kitten named what else but Webster? Reach her at www.RedPenGirl.com.
Posted by carolynhayesuber