Storytelling in Editing

Foreword:

As an editor, you learn to tell stories to identify problems and propose a solution.  This can be done through writing—both giving a summary at the end of a document and the proofreading marks throughout.  Or, the account can be related in person—often to the actual writer and/or the organization that will be supporting or publishing the piece.  The initial stories or criticism are often written in solitude, to be read in the future.  However, the oral feedback is generally done in person on a one-on-one basis, though occasionally is presented in a larger conference setting.  The purpose of such communication is to relay your professional opinion regarding a piece and work to produce the soundest, most effective and complete final product before publication.

I have elaborated on several scenes from the movie “Elf” to highlight how an editor could have resolved many of the problems facing Walter Hobb’s book publishing company.

Example Story:

Let’s say that the writers working for Walter Hobbs have come to you for help with brainstorming and editing their first drafts of a book.

As I’ve looked over your most recent drafts, it seems that you are struggling to look past the idea of writing with fruit as your protagonists.  What is your purpose of using this technique? (response) Okay, in that case, let’s continue with this idea but develop the story line a little differently.  I would bold more of the words that you think are important, so that the children recognize them.  I also would rearrange the sentence structure of the first paragraph.  As you can see here, I’ve marked up the text—changing some of your word choices into words that are better understood by children.  I think with these changes you’re piece will be more likely to be published.

Analysis:

This is a typical session that an editor can have with a writer.  Generally having already read the manuscript, the editor comes with advice and uses the opportunity to discuss elements in the piece that could use improvement.  There has to be a careful balance of persuasion—as the editor is essentially pointing out that the writer has made errors in his creative endeavor.  It’s important to be sensitive to their ideas while making their piece more suitable for the publisher.

Retelling the Story:

Let’s say that Walter Hobb’s has asked you to evaluate several of his company's book projects in order to make them better for publication.

I’ve noticed that your book publishing company has been falling behind in sales recently.  From looking over several of your most recent projects, I have discovered errors that, if corrected, could improve the success of your publications.  There seems to be a lack of attention in the production of the books themselves.  The recent one about the puppy and the pigeon was misprinted, leaving the last two pages out.  By working more closely with the printers and binders, you will increase sales.  Your choice in bringing Miles Finch recently to help inspire your writers was a good one, however, I have worked with them to change the direction of his story about a peach.  While it teaches good morals, it needed to be more accessible to your children audience.  I have gone through and simplified the text and displayed it in a more intuitive manner.  Are there any other requirements that I can introduce to the writers that would help this book be more fitting of your publication standards?

This is a typical conference with a publisher.  Following the writing process, the editor works as a liaison between the writer and publisher as well as imparting their own opinion.  The publisher has voiced concern and the editor has proposed solutions to improve the quality of the piece and its marketability on a more technical level.  The focus is less on the actual wording and subject, but more on the success of the publication as a whole.