DEBUT AUTHOR SERIES
In my last blog post I shared what happens after the book deal.
Now I’m talking about structural edits. Those are the whopper changes around story and character.
Ever wondered why authors go into the fetal position when they receive them?
Do authors have to make every change their publisher requests?
How do they fit all that crazy amount of work into busy lives?
I used to have the same thoughts, which is why I’m sharing how I survived structural edits.
Confession: I hadn’t worked with an editor before. Yes, I’d had copious amounts of feedback from beta readers, but I’d never given them my next draft to work on continuously. Because of that, I was terrified I’d do the structural edit wrong and my publisher would think I was a numpty.
From what I’d heard, every publishing house (and every person within it) gives feedback in their own unique way. I didn’t know what to expect.
My first round of feedback involved an online meeting between my publisher, editor, agent and myself. Some publishers take on the role of editor and some don’t. My editor works in-house. I was told she’d called dibs on my manuscript before it was acquired. It’s nice to know she wasn't lumped with it.
Because it’d chatted with the publisher prior to my book deal, and had heard her editorial vision, I came to the meeting with ideas. We spit balled for 90 minutes. To be honest, it was kinda cool to dissect my story. Not scary at all.
Whilst I would later receive their notes (one and a half pages), I expressed I’d like the manuscript marked up. What can I say? I’m a needy debut author—hold my hand please! So, we agreed I’d do this round of changes and then they’d add comments to the document next time. I also told them not to bother with compliments. I believe the words I used were “Just tell me what’s shit and I’ll fix it.” Very profesh.
Numerous times throughout this process, they stated I don’t have to take on their suggestions and can come up with my own solutions. It was the permission slip this little rule-follower needed. Prior to this, I was under the impression their word was gospel. Not the case. I had creative control.
After the meeting I received an email that my publisher and editor would be on holiday around my due date (for the manuscript, not a baby, although I have scars from both). That meant the deadline needed to change. They let me choose between:
a. 4-weeks with a longer stint for round 2
b. 4-months with a shorter turnaround for round 2
I went with Option A: 4-weeks, which I know sounds bananas. Hear me out. If I f-ed up my first attempt, I’d have more time to fix it later, right? Also, I’d never spent 4 months on any draft. I can’t be trusted with my manuscript for that long. I’d end up Frankensteining it.
With my notes ready to go, what did I do next? Spring cleaned the house of course. Procrasti-cleaning is my forte. Also, letting ideas percolate for a couple of days is part of my process.
With everything gleaming, I got started. Did I dive straight in? Noooo. I spent another 2 days writing a detailed plan of changes, then arranged them in chronological order.
If you’re wondering how I fit my structural edits in with a job, kids and demanding pug, here's my daily schedule for that month:
4am-7am: Editing Block 1
7am-9am: Kids, chaos & school drop-off
9am-12pm: Editing Block 2
12pm-3pm: Work
3pm-4pm: School pickup & homework
4pm-8pm: Work
8pm: Faceplant onto my bed.
I did this 6 days per week and had Sundays off.
The other thing that helped was resigning from my role as primary parent. Hubby was told to step up. That meant whenever he was home, he was in charge of everything child-related. The kids were also warned not to enter my Bat Cave unless there was a fire, someone was bleeding or they had donuts.
As a result of my excellent hiding skills, I was able to submit my manuscript a day early like the annoying goodie two-shoes I am.
In addition, I attached a list of questions about things I needed guidance or reassurance on and a polite note explaining two bits of feedback that didn’t resonate with me. I would’ve hated for them to think I was lazy or rude, so I let them know I had considered the edits, but for whatever reason, they didn’t work.
I also added in a new character nobody asked for. It’s kind of a no-no at this stage. Oops. I half expected them to rip up my contract. However, my editor commented it was her new favourite character. Sometimes you’ve got to go with your gut.
A couple months later, the marked-up manuscript landed in my inbox for round 2. My publisher and editor wrote uplifting letters at the start. I know I said I didn’t need praise, but by God, I ate it up like a starving dog. No fetal position for me.
As I read through all the feedback, I kept waiting for that sledgehammer fear to take hold. It didn’t. One thing I’ve realised about this publishing bizo, is the part I enjoy most, is the actual writing. That’s my happy place. Sure, there was a lot of work ahead, but I knew if I took it slow, I could do it.
For this round I had 7 weeks to complete the structural edit. Easy peasy, except I’d booked a 2-week 40th birthday getaway in the middle. What a dickhead. Fortunately, by the time my trip rolled around, I was ahead of schedule and only had to open my laptop once. Mainly to justify schlepping it across the country.
I returned feeling refreshed and got to work finishing my edits a week early—plenty of time to unravel and second guess myself. Yay!
With a shaky hand, I hit send. Now we wait …
What’s next?
When we meet next, I will have received my copy edits.
What the hell are those? No idea. I’ll let you know.
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