“Here’s the draft, do you need anything else to work on it?”
I get this question quite frequently. It’s a great question,
one which opens the way for good writer-editor communication, so I’m always
happy to be asked. Sometimes I don’t get the question, and I have to
chase the author down to squeeze important information out of them.
Regardless of the length, complexity, creativity, or genre
of your manuscript, there are four basic steps that editors need from you, the
writer, in order to turn your draft into a polished, streamlined, compelling work.
1. Make sure all the content is there.
Editors are not psychics, and we can’t edit what isn’t
there. If you’ve forgotten to include a vital argument, a key scene, or some of
your qualifications in your résumé, your editor has no way to know that. An
especially keen editor might be able to tell that something is missing, if it affects the overall logic of the
manuscript, but if it isn’t there, it will not be edited. Ideally, you might
spot the omission and have time to send it back for a second edit; the more
likely scenario is that you turn in a paper that is full of holes, and your boss,
publisher, or teacher will call you out on it.
Note: The situation is different for writers of books
and other lengthy documents, who might submit only a section at a time for
editing, and who might want to work with an editor through multiple drafts and
revisions. These authors simply need to work out that arrangement with the
editor, including a timetable and payment schedule. This kind of editing is
known as content editing, and is a
specialized skill; someone who only does proofreading will not offer this
assistance.
If you know that your draft is incomplete and you want your
editor to simply fill in whatever they perceive as missing, that is known as co-writing or ghostwriting, and it puts a lot more responsibility for the
content on the editor’s shoulders. Check with your editor first and make
sure they understand your expectations and are both willing and able to take
that responsibility. Not all editors will. There are professional ghostwriters
out there, and you will probably get better results if you start by looking for
one of them.
2. State your needs, requirements, and limitations.
Details, details, details. If your manuscript has to meet
specific guidelines – a minimum/maximum word count, inclusion of a certain
quote or argument, a number of graphs or charts, or a particular format – let your
editor know at the time you submit your draft. If your professor forbids
you to use any form of the verb “to be” (I’ve seen it happen), your editor can
look out for instances of “were” or “is” and suggest ways to rephrase it. If
your presentation must address specific talking points, your editor can advise
you on clarity, conciseness, and whether you stray off-topic.
Some of these are clear guidelines imposed on you from
outside; others require you to be more self-aware and know your own strengths
and weaknesses.
Here are some other things editors would like to know:
- Deadlines (very important)
- Requirements for spacing, margins, fonts, etc.
- Inclusion of graphics, tables, graphs, or appendices
- Specific problem areas (orderly paragraphs, creative metaphors, professional tone, avoiding jargon, writing good intro/conclusion)
- If English is not your first language
- If you have a learning disability, such as dyslexia, which affects writing ability
3. Have A Point (the 1-sentence rule).
For companies, it’s a mission statement; for job-seekers, it’s
a résumé objective; in academics, it’s a thesis. No matter what you’re writing,
there should be one concrete sentence that tells the reader your main point. If
you’re having trouble fitting your message into one sentence, this may tell you
that your ideas are still vague or that you’re trying to cover too many ideas
at once.
Good writing needs three things: a message, an audience, and
a goal. Having a point to your writing includes all of these. The point is to convey
information to specific people, and have them react in a certain way. Try to
define all three of these factors, and keep them in mind as you write – then,
communicate them to your editor, so your editor can help you stay on target.
Your audience can be almost anyone…but it shouldn't be “everyone.”
“Everyone” is not going to read what you write. So, be specific: define your
audience as “girls with self-esteem issues, age 12-17” for a teen vampire
novel, or “middle-class house hunters in the south Chicago area” for a real
estate sales flyer. Your editor can help you tailor the tone, vocabulary, and
complexity of your writing to the needs and abilities of your audience.
Note for students: Don’t define your audience as “my
teacher.” Imagine a larger readership
base who would be interested in your topic.
Likewise, be specific in your goal. Goals like “inform
people” or “get lots of readers” may be accurate, but also vague, and your
editor doesn’t have the power to make them happen. Think back to the moment you
felt the need to write down your thoughts, and how you imagined your audience
would react upon reading them. Perhaps you thought more people would watch a
movie based on your review, or that your coworkers would stop breaking the
printer if you wrote a clear and helpful manual. Define your goal in concrete
terms, and your editor can help shape your manuscript to meet them.
4. Titles.
Finally, please give your manuscript a title. Even if it’s
just “Joe’s Newsletter,” give it a name, and save the document under that name.
It helps editors immensely when they don’t have to sort through 20 manuscripts
that are all called “Example,” or worse, “Document 1.”
