I appears that I didn’t get the fiction job I bid on recently.
It’s a shame because it would have been my first taste of editing fiction and would have required me to grow and learn new stuff. I suspect I bid too high, but I prefer to err on the side of valuing my time and work appropriately and losing jobs, than killing myself working for peanuts.
In coming up with my bid, I spent a couple of hours reading over a very long and intricate book proposal and then several sample chapters. I made an estimate of the hours it might take me to do the job, evaluated the (first-time) author’s writing, and provided him with some feedback and a few sample edits of short passages (so he could see how I would edit his work). My analysis concluded that while the author’s plot, characters, and story might indeed be adequate and interesting enough to get published, he had about 25-30% more words than were really necessary to tell the story. I figured streamlining and simplifying the text to make it friendly to the reader would require a fairly heavy edit: I would have had to touch nearly every line in the 170,000 word novel. That prospect is scary to me, given that authors frequently are fragile creatures.
It might not have been my bid though. I might have been too heavy-handed with the prose. That’s the balance the editor has to achieve, the way I see it. That is the key to editing fiction. The editor must find the perfect degree of involvement and that depends entirely on the specific work and the specific author. Oftentimes, an author expects me to read his/her mind to know what degree of involvement they want me to have. This is true when I’m editing non-fiction too. However, my experience is that non-fiction authors are often really open to revisions that improve their work. Fiction is more emotional.
I asked this prospective client, “What level of editing are you looking for? Substantive editing? Copyediting?” (and provided him with definitions and examples of both types).
He said, “I believe my best answer to this question is, unfortunately, a very positive, ‘I don’t know.’ I can only admit that I am too close to the work to objectively attempt to edit the material and would trust in an editor to have the reader’s best interest at the heart of their decision making. At this point I need to secure the best editing job available as if I were going to self-publish the first novel in the series for a June release.” (See what I mean? He’s a very wordy guy.)
I took him at his word and evaluated the text with the reader’s best interest at heart, assuming there might not be any other editor (such as an aquisitions editor at a publishing house) intervening on the reader’s behalf.
In a way, I’m not sorry to see it go to someone else. I don’t really feel like justifying every single change, every single decision I make. Still, this novel is the first of six planned novels, and a long-term gig like that–if he actually managed to write a six-novel series–might have been nice. C’est la vie!