HOW IT WORKS


Phase II starts with my second reading. This time, I read slowly, painstakingly, in the way the intended readers generally don't. Where are overlooked opportunities to develop character, argument, plot, or effect? Does the narrator's tone fit the story and the reader? Is the story being observed from a discernible, convincing POV? Is a sentence saying in 13 words what it can say in 9? The questions are numerous, and each project suggests a different list. The second reading yields annotated, digitally edited, marked-up copy for the author to review. Digital editing and annotation let the author adopt changes, reject them, or adapt them, as well as look at questions and comments that are accessed from the text but not stuck into it. The author gets that copy in installments of 30-40 pages, and gives me feedback as I go forward. In many projects, the author's revisions are happening simultaneously, so the exchange goes in both directions. Naturally, the writer and I don't always see things the same; in those cases when I think the creator has one thing in mind but the work seems to intend another, I try to argue from the perspective of the work. The author’s thinking is essential, but the work usually knows better. The author, obviously, has the final word, and my responsibility is to express myself clearly so as to help the author make sound decisions.
[Click to see sample page of digital editing/annotation.] PDF / MS WORD

 

An editor can offer three or maybe four useful reads of a work-in-progress; after that, whatever objectivity the editor may have had is overtaken by familiarity and vested interest. So work beyond these phases goes its own direction. The author and I work out a plan. Reading further drafts usually makes sense only after a good break, and after readers less involved in the work have given reactions. It may come long after initial reading and revisions. Ideally, it happens when the book is in proofs, and about to be published, or when the script is going to the studio or into pre-production. But that doesn’t mean there isn’t plenty to do in the interim.