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These regular articles reveal how our editors view the challenges new writers face |
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July 2009 - from our Managing Editor
An Editor’s Role
Writers write and editors edit. Editors who attempt to muscle-in on the writer’s function need shooting – or deleting – at birth. But the temptation to suggest a word here, or a phrase there, is always present and hard not to succumb to. And this last sentence, a wonderful example of convoluted syntax, could be expressed lucidly with more appropriate words in a different order – but then, it wouldn’t be me talking, would it?
Everyone talks, and most of us write, after a fashion, so writers are faced with an enormous canvas when setting out to write a book. And book editing is my speciality. Forget the rest; I focus on books. And focus is what it’s all about.
One person in a million is able to bring focus to all he or she does in a day, without thinking. The rest of us muddle through on autopilot, putting the milk back in the fridge, spreading marmalade on our toast while hissing at the cat pawing the goldfish bowl. Our everyday muddling through is fine – in the home – but try writing a book that way, and you’ll come a cropper. But that’s precisely how many aspiring writers set about their task!
Bill Bryson was an editor with The Times for years before hitting the big time with his wonderful books. As a sub-editor it was his job to tidy up and condense copy sent in by journalists. What a training! And the finest way to learn. It’s only when you’ve worked on hundreds of other people’s drafts that you appreciate what works and what doesn’t – in commercial terms. I’m not talking about writing styles; they’ll always reflect the unique individual who learnt to write and express him or herself as a child. No – what I’m talking about are the ticks, habits and trivial errors that can muddy the waters when clarity is called for, at all times.
Bestsellers seldom achieve true success by accident. And more books than you imagine are designated as such when they are nothing of the sort. Hype and obfuscation are the tools that publishers wield as they seek profits in what is a dreadfully competitive marketplace.
A profitable book presses all the right buttons, appeals to a set readership and delivers the goods: a good read. Press a few wrong buttons, fail to focus on your likely reader, and disappoint or confuse, and your book will fail.
In my role as editor I help writers focus on the needs of readers. This is easier said than done. I’m not saying to writers, don’t write for your own entertainment, enlightenment or pleasure. What I’m trying to do is ensure that writers empathise with the needs of readers. Punctuation matters little to writers; they know what they mean, . . . what they wish to say. It’s in their heads. But readers haven’t a clue what’s in the mind of a writer – until it’s expressed on paper, in a logical manner.
Writers, even experienced writers, are so close to their work, and often so enthusiastic about the story they wish to tell that they become incapable of standing back from their drafts and taking a forensic interest in every word, phrase or line. That’s where an editor can step in, ensuring the final book does justice both to the writer’s wishes and the reader’s intelligence.
March 2009: from our Managing Editor
Writing That First Book
Not everyone has a book in them, believe you me! But with
a little teasing out, most of us have the ability to write a book, and here at
WriteAway we pass on the tips that can make it happen - for you.
The first thing to say is that writing a book really isn’t
difficult. Horror of horrors, I hear the literary establishment screaming, this
man needs shooting. Don’t listen to them; they have a vested interest in talking
‘literary’; of making magical and out-of-of reach what is simply a trade that,
if worked upon, can deliver the goods, time after time.
My first novel, a wonderful work that totally failed to excite
agents, was completed in a month. Looking back, I still remember the excitement
of writing it, and of handing the first draft to a friend. What a privilege!
This person should have felt honoured. Her response was muted and our friendship
has mysteriously refused to blossom since. My first novel was tosh; lazily planned,
poorly edited, and so inadequately marketed it was guaranteed nobody who mattered
would read it. In that regard, perhaps, I was lucky.
But writing this dreadful book did wonders for my ego. I’d
actually laid an egg, created an entire book, completed a task. This put me ahead
of all those promising writers who promise much but deliver little. I am a writer;
they are still dreamers.
Your first book may hit the jackpot; next Saturday’s lottery
ticket may also make you a millionaire! As a gamble, book writing is a better
bet, and, the more you write, the better your chances become. Now that’s not
true of playing the lottery. But your first book should be regarded as a maiden
flight, not the first leg of a round-the-world trip: that comes later.
If you want to be a writer, then everything you do needs to
be planned. Coherent spontaneity is a gift that settles on the blessed few. Simply
putting fingers to a keyboard will not do. Here at WriteAway we help you structure
your writing project at the embryo stage so that the writing is easier and the
end product has the maximum opportunity of becoming a success. The chances of
your first book attaining bestseller status may be slim, but by following the
protocols of the business, all your efforts will be directed at turning out the
finest product. If, like me, you find this initial effort doesn’t tempt
a publisher you will have discovered so much as you get the work off your chest
that your following book will be both easier to write, and read. You will be,
like me, a true writer.
Join us at WriteAway and you can devil away in your garret
– undisturbed, but whenever the need arises you can depend upon our help – from
people who have been there and done it – big time. Simply follow the link below
and become a Life member of WriteAway. Then the fun can start:
JOIN TODAY FOR A GUARANTEED,
PROFESSIONAL
ANALYSIS OF YOUR WRITING.