Blogger: Janet Kobobel Grant
Location: Books & Such main office, Santa Rosa, Calif.
The final aspect of what an in-house editor brings to the table is…
–Understanding the interplay between the publisher, the author, the agent.
This is a delicate dance that other departments don’t “get” because they aren’t standing in the crossroads the way an editor is. That’s why Carol Johnson describes an editor as not only an ambassador to the publishing house on the author’s behalf but also as an ambassador to the author on the publisher’s behalf.
If the author isn’t happy with a cover design, title, ad copy or the edited manuscript, it’s the editor the author is most likely to communicate that to–if the author doesn’t have an agent. If the lucky author has an agent, communication to the publishing house of this sort goes through the agent.
Who is the agent most likely to contact first? The editor. That’s because agents know that, if anyone at the publishing house has a firm grasp on the essence of the book, it’s the editor. The editor acquired the project, oversaw each part of the book’s production, and was the person who presented the vision for the book to the rest of the publishing staff.
Conversations of this sort usually go something like this (note: this is a truncated version of a much longer conversation):
Agent: “I just saw the cover design for Jerry’s book. I have to say that I think you all missed the mark. It looks as though the audience is a 50-year-old woman rather than a 20-year-old. The model is too old. Not to mention that the title is lost on the light background. I’ve talked it over with Jerry, and he agrees.”
Editor: “We really liked the cover. We thought it conveyed the inspirational angle of the book.”
Agent: “Well, I’m not seeing that. I think it conveys more of a dark tone rather than a hopeful look. I have to say that the cover is all wrong. Can we make another pass at a design?”
Editor: “You know we want the author to like the cover and to think it’s the right one for his book. I’ll talk to design.”
Now, if the agent had called the designer directly, the conversation would have gone very differently. But you can see how an agent can approach an editor and talk about who the reader is, whether the cover conveys what the book is about, and toss in suggestions about what needs to be changed.
Editors get it. They’re the troubleshooters for your book. If bad news must be delivered to either the author or to publishing staff–such as a manuscript that disappointed when it was sent in–the editor becomes the messenger.
If something goes awry in the publishing process, such as realizing that too many novels are releasing in a single season and yours is being bumped back, the editor delivers the news.
And the editor rejoices with the author as no one else in the publishing house can when a writing award is won. Because the editor helped you to get that award like no one else.
Now we come back to the question of what happens should a publishing house dismiss all in-house editors. The person who was the author’s and the agent’s touchstone to the publishing house is gone. Who will assume this role, a role that benefits both publisher and author? No one holds the same qualifications because no one else has to be the overseer of not only the project but also of all the relationships inherent in producing the book.
Tomorrow I’ll write about how free-lance editors fit into the scheme of things and also address what to look for in an editor you hire to help you with your manuscript.
In the meantime…
…When did an editor step in to negotiate on your behalf?
…Read acknowledgments in whatever books you have at hand. What descriptions of editors provide insights into what an editor does? Were some worded especially eloquently?
I had a wonderful agent-editor-author interaction with the cover of my first book. The editor was faithful and fast in addressing my concerns, and the final product was a huge improvement over the original.
My agent (Janet) advised me to provide a selection of books with the kind of cover I’d prefer. I cut and pasted cover images from Amazon. I added a few comments to each image, explaining why each cover would work, and my agent sent it off to the editor.
A week later, we had a great, new cover… and no feelings were hurt in the exchange.
It’s a bummer to think that the critical post of editor would fall victim to downsizing…
Bill, your cover experience ended happily. What a relief! But it unfolded that way because the publishing house staff (especially the editor) cared whether you liked the cover.
I can’t say that I’ve ever had the chance to experience this yet, but I appreciate you providing so much information this week. I’m eager to read tomorrow’s post.
When reading the acknowledgments for Margaret George’s Elizabeth I, I noticed she thanked her editors for making the book shine brighter once it got into their hands. That’s a great way to look at it.
Back when I was a project editor for a textbook publisher, I greatly valued the proofreaders (some of whom we employed part time) who worked under me. But every written project really needs one final authority (editor) who weighs each proofreader’s suggestion and gives every jot or tiddle a yea or nay. Only such a full-time editor for the publisher has the same degree of vested interest. In my opinion, sure, proofreaders can freelance from home, but project editors? Any publisher who cuts the editors adrift will lose the main people interested in preserving quality in the finished products.
If you can’t judge a book by its cover…then it’s a poor cover. I want my books to leap into shopping carts…both real and virtual. As a marketing professional I know products live and die on packaging. With several talented and experienced graphic artists in my employ, I know how easily they can miss the mark on their first tries…despite their best intentions. It concerns me that these decisions are made by individuals who may only read a small portion of the book. My dream editor (should they not be extinct at my time of publication)and my beloved agent will be my best friends.
Although I haven’t had the pleasure of working with an editor yet, your descriptions help to acquaint us with real life scenarios. Editors must have an internal GPS (navigation) system. It seems they know when an author should hook a left, continue for 2.5 miles or make a U turn.
Some of my favorites from the acknowledgments.. Sweetie Pies by Patty Pinner..”Thank you, Pam, for editing, rearranging chapters and guiding me through.” And from Three Cups of Tea by Greg Mortenson (Young Reader’s Edition)…. “A special thanks to Jen Bonnell, senior editor at Puffin, who worked patiently day and night for months to help get the book down and was a source of encouragement….”
Thanks again for taking time to chat with us about the intriguing business of writing.
As a reader… The cover is huge in my decision making process as to whether to buy the book or not. It sets the tone for the story just as much as the back cover blurb. As a writer I would hope that when I get to that point in my career my vision for the book is taken into consideration. I would want the cover to reflect the story inside.
Thanks for each of your contributions to the conversation. And thanks for checking out the acknowledgments to see what authors thought their editors contributed to the book.
I just pulled The Time Traveler’s Wife off my shelf. Audrey Niffenegger thanked her editor “for patience and care and close scrutiny.” Nicely phrased, eh?
In acknowledging those who helped her with The Memory Keeper’s Daughter, Kim Edwards said, “I’m very grateful also to all the people at Viking, especially my editor, Pamela Dorman, who brought such intelligence and engagement to editing this book, and whose insightful questions helped me walk more deeply into the narrative.”