Things to Look for in an Editor

For the past two posts, I’ve been writing about the relationship between writers and editors. Last week, I discussed signs that your editor lacks skill or scruples. This week, I’m looking at the other side. What are some qualities that tell you this is the editor you want to hire?

1. Experience. I’ve known many fledgling writers who trust their books to cousins or neighbors or BFFs. Ask what credentials these “editors” have, and the writers will tell you they’re high school English teachers, or have M.A.’s in English, or are simply good writers themselves. While all those are nice things, none of them mean the person knows how to edit on a professional level.

Editing is a challenging skill that takes years to perfect. Look for a professional. Ask who his clients are. Get references. Don’t trust your work to an amateur

2. Competence in your genre. New writers often think that editing is editing. In fact, editors work in specific niches. An editor who specializes in medical textbooks shouldn’t take on your memoir. One who usually edits hard-boiled detective fiction can’t do a decent job on your fantasy novel. Ask your editor what types of works she works with, and get specifics.

3. Honesty. I’ve never worked with an editor who wasn’t up front about the weaknesses in my manuscript, so I’m not sure this is even a problem. But I wouldn’t be surprised if there are editors out there who make their money by telling their clients what they want to hear, rather than what they need to hear. It’s a heck of a lot easier than actually doing your job, and you’re less likely to be the target of an enraged email. Praise is one thing: Flattery is another. If you think your editor isn’t laying it on the line, fire him.

4. Willingness to dialogue. When my editor told me to omit my novel’s prologue, I balked. I’d worked hard on that prologue, and I was proud of it. But, more importantly, I felt the book needed it. We had a friendly, challenging, exciting conversation and ended up with the perfect solution. I kept my prologue, greatly shortened.

This would never have happened if my editor hadn’t been open to my ideas and not defensive about her own role. She was able to change her mind once I explained what I was trying to do—and helped me do it better.

5. Support. Your editor’s job is not to hold your hand, kiss your forehead, or fan you when you’re feeling faint. However, supportiveness is part of his job. That might mean telling you how much he enjoyed reading your work or that your passion and hard work show. It might mean reminding you that you’ve got the talent to make it, or reassuring you when you’re facing disappointments. Three words from an editor scrawled at the top of one of my manuscripts brightened an otherwise dreary month of rejections: “Held my interest.” That’s all it took.

6. Tact. When I teach editing, I tell my students a truth that extends to all areas of human relations. There is no bit of criticism, no matter how deep and extensive, that can’t be stated tactfully. Tact isn’t lying, beating-around-the-bush, or whitewashing. It is remembering that this author put hours of labor and love into her work, and offering criticism with kindness and sensitivity. It takes time and effort, but it’s part of the job.