On Writing Romance_ How to Craft a Novel That Sells - Leigh Michaels [146]
Most of the time the editor is right, the suggested changes are squarely on target, and the result is a much improved story. But editors' brains have been known to short-circuit and make them say things like, "Does this story have to be an office romance in a modern-day corporation? Could it, say, be moved to the Old West and be a time travel?" (Well, yes, it could—but it would be an entirely different story, and probably it would be more practical to start from scratch than to revise.)
If an editor asks you for revisions, never say no. Say you'll have to think about it, and then really think. Will those changes make the story better, stronger, and salable? If you feel the suggested changes aren't feasible, is there a compromise position you can offer? If you really can't make the changes without sacrificing the integrity of your story, then say so. Be up front but polite; you may want to work with this person in the future.
Your first reaction to any request for revisions is apt to be negative—What's wrong with the editor that she can't see my story for the jewel it is?—but if you take a bit of time, and if you've given yourself some distance from the story, you may see that she's right and what you actually put on the page isn't quite the polished diamond you believed.
If an editor requests revisions from you, figure out a feasible timetable, tell the editor when she can expect to see the revised manuscript—and then stick to the deadline. Don't delay; get the book back to the editor as soon as you reasonably can, before she can move on to another job or forget that she asked.
BEING A PROFESSIONAL WRITER
The professional writer isn't necessarily someone who's quit a day job to write full time. The difference between hobbyists who write stories in their spare time and authors who have put themselves in the marketplace is an attitude of professionalism.
Most rules for dealing with editors and publishers are a matter of common sense and courtesy. Before you send off a letter, consider how you would react if someone had sent the same letter to you. Treat the editor with the same respect you'd like to receive.
From the first query letter, you should strive to present yourself as a professional who is knowledgeable about the field, respectful of the editor's time, serious about writing, reasonable to deal with, and intelligent.
If you work with an editor through several projects, a friendship may develop, but it's important to remember that your working relationship must be kept separate from your friendship. Though your editor may sometimes act as your advocate with his superiors, his first duty has to be to his employer—who is not only in the business of publishing books, but of producing a product that will make money.
Your editor is your partner, not your opponent. A wise author remembers that while author and editor may not always agree, their goal is always the same: to produce the best possible book for the readers' enjoyment.
Meeting Deadlines
Part of this cooperative arrangement includes doing your work on time. It's your job to keep to your contract by meeting the deadline, and failing to do so because you didn't feel like working is not only unprofessional, it can be deadly to a career.
Deadlines are set through discussion between the writer and the editor and are spelled out in the contract. When you're negotiating deadlines, don't automatically agree to the editor's suggestion. Be reasonable with yourself, be realistic about what you can accomplish, and build in some extra time for emergencies. With luck, you won't need the safety margin, and turning work in early builds your professional relationship with your editor.
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