It’s hard to find a good editor. My first experience proved disappointing and I haven’t had much luck since. If any business person is unresponsive and untimely, I’m not interested in an ongoing venture. If an editor is more interested in telling me what they don’t do, I start to wonder what they will do.
Writing is my art. It’s easy to take comments and critiques personally. One of the most difficult parts of getting feedback for me might surprise you. In the beginning, I was easily offended by what people said but I got over that pretty quickly. I feel anytime someone makes a comment, it’s worth taking a look, even if I don’t agree. If someone misunderstands my work, it’s likely another reader might feel the same, so I am generally compliant to clarification suggestions. I am thrilled when a reader wants more of a character—no problem at all with that critique.
I began to suspect not all input has value. Don’t get me wrong. Harsh criticism can prove useful. With a lot of reflection, I came to understand the critique I’m looking for. I know my plots are good. I know my characters are strong. I write good dialogue. It’s the words I most need help with. I want to make them as perfect as possible. And, I like to know where I’ve made a mistake—not just a type-O, but what information I can add to provide clarity. It’s also little things, like, “you put the word marriage in this paragraph three times!”
Although I appreciate being told how I made a mistake, I don’t necessarily want to know how to fix it. One problem with having other writers review your work is, they tend to have an imagination too. I’m not so interested in being told what to do, I do appreciate being pointed in the right direction.
I have a pet peeve. I’ve noticed reviewers, who are also authors, tend to assume they know your whole book when they’ve only read a chapter. For instance, it’s not helpful to provide feedback like, “there is no mention of the weather—was it snowing?” When reading an excerpt from a book, it’s much more helpful to critique what is actually there than assume things are missing. Maybe I already described the weather in detail in the previous chapter.
Finding qualified people willing to spend time reading your whole book is no easier than finding an editor. I have run into people who feel the need to put their mark on your work. Some just want to be picky. And then I’ve gotten a handful of adoring “fans” who wouldn’t change a thing. Honestly, how can I complain when someone admits they were so caught up in the story, they ceased looking for flaws! But for editing purposes, that’s not good either. I’ve been lucky to find a few truly helpful readers who offer insightful feedback—and discover my last remaining type-Os!
That being said, first chapters are critical—I’ve heard that repeatedly. I always seem to know if I have a good first chapter or not—only about half are good. How to fix the bad ones is part of my ongoing learning process. Reorganization seems to help. Omitting unnecessary details always improves my work. Starting in a different spot can be a game-changer.
In the end, your book is your book. You have ultimate control. I’ve ignored a lot of advice on the way I’m “supposed to” write, edit and publish. Only time will tell if going with my gut was a good or poor decision.