I’ve been meaning to write about how I approach editing a novel since I started this newsletter last year, but I’m glad I waited.
I’ve known Maya for ages, since we were both working on Open University Creative Writing courses. I’ve read shorter pieces of her work before, and when I heard she was working on a full length novel I was really keen to read it.
Check out her blog here, Bordering Grey, where she talks about what happened when she decided to practice handling the whole rejection part of being a writer.
It’s a fabulous story, and couldn’t have happened to a lovelier person!
Editing Maya’s novel
I should say right now that I learned a lot from working with Maya, and as a result I am considering offering a new kind of editing service, as well as the more traditional. Of which, more later.
Previously, I modelled the way I worked on my own experiences of having my stories and novels professionally edited.
In brief, there’s a short back and forth, usually by email or Messenger, to discover if the novel (or occasionally, non-fiction manuscript) was something I could help with, and to find out what aspects, if any, the writer felt needed special attention.
Sometimes we would also have a video chat – usually through FB Messenger.
Once we reached agreement, including a date for completion of the work, and the fee was paid, I would start on the manuscript.
Always, the very first thing I do is to read the whole manuscript. I don’t, at this stage, make any notes. I don’t want to interrupt the reading process. At this stage I am just a reader.
This stage is essential for me – I need to absorb the whole story to gain a sense of what the writer envisaged when they started writing – what THEY want their novel to be.
As a writer myself I understand only too well how far our early drafts fall short of the ideal image we had in our mind.
I’ve done a lot of reading, over the years, and I generally do find I get a very good sense of what the writer is interested in. If I have any doubts, then I would always check back with the writer before going further. But most of the time, the manuscript tells me what I need to know.
If I am really very wrong - that in itself can be very helpful to the writer. Working out what I haven’t understood, can highlight areas where the manuscript needs to be clearer.
As well as analysing what is there, actually in the manuscript, I often think it’s actually far more useful to have an editor look at aspects which are missing, or just aren’t clear or prominent enough.
This is one of the stages of editing which takes a little more thought, more elapsed time, and more experience.
Even when revising my own work, I am surprised by how often the missing elements of the story are already there in seed form. Sometimes I have taken so much for granted, I haven’t elucidated characters or events clearly enough and I need a nudge from someone who is not actually in my head to point that out.
It’s hard to see that kind of problem in your own work – because it’s a blind spot. Sometimes leaving a manuscript to rest for weeks to even months, might give the necessary distance. But sometimes you really do need a good beta reader or professional editor who can be more objective.
Once I am satisfied that I have a grasp of the essence of the novel, then I start to make notes on the manuscript.
Many writers have told me they appreciate the way I always add my reactions to developments in the story - not just criticisms, but the positive feedback too.
Crime writers especially find it useful to know if a reader can spot red herrings and foreshadowing and guess upcoming plot twists.
Most of the manuscript comments, though, are on the important elements of story. Structure is a particular obsession, then character, also pace, suspense, dialogue, and setting.
I also try to track down the odd inconsistencies that always slip in to a full manuscript. In my first novel, I managed to move Milan to Germany over the space of just four chapters, for example. Getting dates and timelines muddled up is pretty much universal – especially after changes have been made. My husband tells me that editing a novel is similar to debugging a computer program, and it’s important to look out for “side effects” of changes, which can ripple through a whole manuscript (or a program) distorting everything.
After this, I usually let everything sit for a couple of days before writing up the report. Preparing the report usually takes two or three days.
So the whole editing process, depending on the length of the manuscript, takes at least six full days’ work, and often a few days more in elapsed time.
After I return the manuscript to the writer, there’s always some provision for back and forth, by email usually, to discuss everything until the writer is happy that we have hammered out a direction for the next revision of the novel.
Working with Maya
Because of the stage Maya was at in her writing, we decided to find a more flexible way of working.
To begin with, the draft hadn’t actually been finalised. Maya was keen to finish the draft, and I was keen to see the manuscript and assess whether I could help or not, as it was outside my usual genre.
So I started out by reading the first section as Maya carried on working on her draft.
I read a few pages and messaged Maya to say how much I was loving it – I know how terrifying it can be as a writer when someone is reading your work. By the time I had finished that section, I was desperate to read on.
Fortunately Maya was soon ready with the next section!
That second read is always a good test of the manuscript. The first read though is always a pleasure because the story is new to me, but when I am actively enjoying reading through a second time, that means it’s a really good story. Maya’s novel definitely falls into this category.
I commented on the draft and then spent some time writing up the report, with all my usual headings, some suggestions for structural changes, and a few questions where I was muddled and confused. I spotted a few discrepancies here and there – in a draft of this length I would be seriously perturbed if I didn’t.
Then I sent the manuscript and report back to Maya, and had my own short time worrying about her reaction.
We’ve had a bit more back and forth since, and I read a new draft – which isn’t usually part of the process for me but I so much wanted to read it again to see what Maya had done.
I was seriously impressed.
I would certainly consider this method of working again as it gave me more elapsed time to contemplate the story before reading through the whole manuscript at one go.
Maya has made a brilliant job of her novel. I really got the sense that it’s a bit closer to her original vision.
I know she’s started sending out into the world, and I am almost as nervous and excited as I am when I start submitting my own work.
I really love editing. It’s the stage of the work I enjoy most when it’s my own novels. I am a slow writer and find first drafts especially difficult. But helping a writers make their own novel more itself - that’s a real joy.
Over to Maya
This is the first time I’ve had my work professionally edited and I am thrilled it was with Ann. What could have been a nerve-wracking experience was instead full of confidence-building and support for my work.
As Ann said, I didn’t have a complete manuscript ready to send to her, as I was editing my 4th draft. Sending Ann that first edited half of a draft and then knowing she was eagerly waiting for the next instalment was the push that I really needed to get things tied down.
I loved getting messages from Ann while she was reading through the draft that first time. She was the first person to read the manuscript as a whole and I was a little nervous, but I had nothing to worry about. I found Ann’s intuitive feel for the story incredibly supportive. It felt as if she loved my characters nearly as much as I did and I felt safe with her judgement and suggestions.
It could have been a lot, getting a whole manuscript back and seeing all the comments along the side, however Ann is so gentle and at the same time so precise in her assessment that it wasn’t intimidating at all.
Her comments and insight gave me a framework within which I could see what was working and what needed developing. Editing is not my natural space – give me the heady thrill of that first telling of the story any day. But editing is what we need to do. With Ann’s support and her comments, I was able to see where I was going – like a trail of breadcrumbs left out for me to follow, suggestions and questions for things to consider.
I’ve no doubt that my novel is in a better place working with Ann. My overall feeling throughout the whole process was that not only did Ann appreciate my writing, but she was invested in making the story the best that it could be.
Thanks Maya!
If you have a novel which needs editing
Please do contact me. You can check out my Editorial Services page on Facebook, and message me there, or just email me at ann@strawintogold.co.uk
The kind of editing I do is often called a Manuscript Critique, or Developmental Editing. I concentrate on story structure, characters, dialogue, setting, point of view, and pacing. I do also comment on use of language, including occasionally at the paragraph and sentence level, but just to point the writer in the right direction. It’s not really a full copy edit so much as a kick start!
After working with Maya, I should say I am open to working in a more flexible way too, and we can have a chat to decide what’s possible via email or Messenger.
Ann
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Extras
The Writing Chance Website - note the Resources for Writers section at the bottom