Happy Easter Weekend, everyone!
I have to apologize for missing our date these past couple of Fridays. Truth be told, we’re in the home stretches of renovating our house following a flood last year and we’ve been feeling antsy to get it all over and done with, so forgive me if these posts are a little light. Most of my role lately has been painting, and this past week’s project has been painting the insides of our kitchen cabinets in particular. It’s been tedious, but worth it; that sentiment and the way our cabinets now seem illuminated from within got me thinking about the editorial process.
Those of you that have worked with me before may be familiar with my advice that rarely does a single round of editing get a text polished to perfection. I’ll frequently recommend at least two rounds:
- The first catches all the small and distracting errors such as spelling, grammar, and consistency (a proofread, basically); once those are resolved…
- The second round is able to delve deeper and catch flaws of ideas, character, pacing, and so on.
It’s similar to painting these cabinets of mine – on the untreated, raw draft of the wood, a single once-over with the brush does very little. By the second go-round, things are looking a lot better, but on a few I’ve needed a third or even fourth coat before they’re the best they can be. I use a fatter, broader brush – a wider-toothed comb, if you will – to do the bulk of the work, and then go back with the thinner detail brush – the fine-tooted comb – to get those hard-to-spot places and the edges. I’ll do this as much as I need to until it’s polished.
I’m sharing this because it’s useful for you to know that your editor has a variety of mental tools or modes in which they work to get your project on track. While there are those of us that may employ several of these all in one sitting, it’s best to prepare for the possibility that more than one session may be necessary in order for you to get a thorough service, particularly on longer projects.
It is of course possible that a single round of a broader brush does the trick, just as it’s possible to receive a manuscript that – on the surface at least – doesn’t need touching at all. While I firmly believe “If it ain’t broke, don’t fix it”, I also believe as a writer that an editor’s job is not just to catch that single typo in seventy pages, but to illuminate the project from within by making suggestions that can improve its overall caliber. In other words, there wasn’t exactly anything wrong with my unpainted cabinet interiors, but don’t they look so much more professional, so much brighter, now that they’re painted? Instead of focusing on the sub-par things, I can focus on the contents. Likewise would I feel negligent in keeping silent on conceptual, creative, or theoretical flaws or gaps that, when addressed, could bring a project from ‘Good’ to ‘Insightful and Engaging’.
It’s not complicated. Tedious, sometimes, but worth it. And we editors and cabinet-painters alike wouldn’t do it if we didn’t enjoy it.