The truth about editing

It sucks.

I mean; it really sucks.

You work really hard on a story, send it to someone, and they go; “Meh”.

I write a variety of things; poetry, essays, flash fiction, short stories and long-format novellas and novels. But no matter how meticulous I craft my narrative and characters, there is always room for improvement. The key is finding the right editor.

For me, it’s Ina Morata of Clarian Press. She has a keen intellect and an extensive depth to both grammar and vocabulary [albeit of the English-English language variety, which leads to interesting discussions when Americanisms crop up] along with a historical literary provenance, that creates a template for how a story should read.

The most important lesson I’ve learned from having my work edited by numerous people, is that the only goal an author should have, is to seek the best possible result. If an edit makes for a better book, then make the change and don’t mourn your original efforts.

Nearly as important though as a writer, is to find your ‘voice’; the style in which you are most proficient. That voice needs to be a solid base so that no matter how much editing is done, it is still recognizable as your own. A good editor trims the excess, prunes back the prose so that new growth and grafts make the finished product even more fruitful. Writing is not about word count, it is about making each word important and integral to the story.

I always start my long-format fiction in flash style. I think of it as splashing paint on a canvas. It’s not meant to be perfect, or even coherent. It’s an experiment to see if the characters and plot have potential. The more you write, the more you cast off. There’s nothing wrong with that. Always seeking the perfect first draft is guaranteed to make it impossible to ever finish anything. Imperfection is not only inevitable, but essential to editing.

What I call a first draft is a misnomer. Before I submit a piece of fiction, long or short, the manuscript has normally been ‘edited’ by myself at least a dozen times. I swap chapters, change tenses, substitute narrative for dialog and vice-versa. My style, my voice, has developed into exploring the emotional bonds we create and the consequences of our actions. I don’t fill in the background normally; the physical aspects of the characters, the detailed clothing or places they inhabit. I enjoy reading books that do so, but for me, as a writer, I don’t think in those terms when creating.

A good editor partners with the author by taking that first draft, reading it, then breaking it down into various components. Keep. Change. Discard. While ultimately the decision remains with the author, by explaining the whys, an editor guides the prose into becoming stronger and better. The mantra, “If it makes a better book, any change is good”, is very helpful in taking personality and emotion out of the process. Which leads back to the title of this post.

The truth about editing, is that it is extremely difficult and fraught with feeling: if you allow yourself to believe your first draft is perfect. It’s not. It’s only a starting point. Having other eyes read your work can be intimidating, but the payoff can be a spectacular result.

Happy writing,

Byron Cane

6 thoughts on “The truth about editing

  1. Now, you know you enjoy my ‘English-Englishness’ really…! 🙂

    I am truly honoured and flattered by your assertion that you have found the right editor. I must be doing something right! I happen to love editing equally as much as I love writing. I’ve edited professionally for a number of years and have worked on a vast array of fiction and non-fiction, and I find it all a joy.

    Everything you have to say about editing is true; certainly it’s the way I work. Maybe it’s because I write as well as edit (not all editors do) that I have the utmost respect for the blood, sweat and tears the author has put into producing that first draft. Yes, if I’m dealing with a developmental edit on a first draft there will be a lot of comments, as you know. You also know better than most that, when it comes to the latter stages, I get really picky over colons versus semi-colons, misplaced commas and italicised quotation marks. It gets worse in the formatting stages when extraneous spaces at the end of a line or between words are all proofread and removed! But every single comment, every change, deletion or addition, is done with a view to making the work better on behalf of the author who has entrusted me, as editor, with their book.

    And that’s the crux of the relationship between author and editor: trust. The author has to trust that the editor is making suggestions and changes for the benefit of the work and, by extension, the author’s reputation. The editor has to trust that the author will be open to making their work the best that it can be. Editing is often a two-way conversation. If this kind of relationship is formed, then there is no stopping them!

    I feel very lucky to be working on so many of your works with you. I could not ask for anyone more responsive to editorial work than you are. It is my absolute pleasure to work on your books each and every time.


  2. It takes time to trust, in any type of relationship, whether business or personal. I enjoy the end result, even when sometimes the stuff that comes in the middle is not so much fun. Still, as long as the ideas and words keep coming, then I’ll keep spewing onto the page of lust. 😉

    Liked by 1 person

  3. Luckily, we’ve been working together for some time now! What a glorious turn of phrase you have. ‘Spewing’. Just perfect for an erotica writer to get his reader excited… 😉

    Liked by 1 person

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