Tag Archives: thought

6 Months as an Editor: Thoughts

I’ve now been a Junior Editor (well, at least it’s not a minion!) with Rebellion for six months…and it’s still going great! A friend was asking me some questions, and I thought – actually, the answers are kinda interesting. Going from a writer and editor for friends to a professional editor and formatter… what have I found in the last six months as someone who’s just stepped into a pretty new world?

Am I a better editor? Well, yes. It still scares the hell out of me that I’m the one making judgement calls on others people’s writing, and to the level that I can input on if they get published or not…but at the same time, I’m mostly passing the buck (hi, commissioning editors!) and at the level I’m now working at, it’s not so much a question of if the stories are good – because they overwhelmingly are! – but whether we want to publish a story of that type. The one thing I have got better at is adding in a personal opinion to whether a story is any good; whereas before I’d just comment on the writing, I can now weigh in with my personal opinion – which is, I think, as valid a part of reading as the actual writing skill is! If a book is beautifully written but does nothing for me, then maybe it’s not for us; if it’s something that I want to absolutely rave about, then maybe it is! Being able to convince my boss to publish something – and, therefore, being able to wave my hands and squeak excitedly about how awesome it is – is as much a part of publishing as “the writing’s very pretty”.

Do my editing level-ups have any input on making my writing better? Well…no, not really :-/ if anything, I’ve learned that I’m even more right to know I can’t edit my own work! I’ve got more awareness of tropes and how other people do things, and more awareness of the fantasy and fiction world in general – but my ideas are still mine, and the way I write is still mine. I can’t see the flaws in my stories any better for having edited other people’s than I could before I started. The thing that has helped, though, which is advice given to every writer – READ MORE.

Am I reading more? Well, yes, but unfortunately it’s not reading that I can talk about yet – and I still need to keep current with fiction, too! The thing about the endless slush pile are true, though – I have to make sure I block out time to read! And also, to writers: you have to make a good first impression. I don’t tend to read the agent’s blurb more than to get a flavour (but then the ones I currently read have gone through the agents & my commissioning editor before I read it) but if you haven’t hooked me in the first three chapters, I’ll start skimming (and others might put it down). That’s not to say I can’t cope with slow starts – it’s the writing and the characters that get me in, but something does have to be happening. You need to be driving towards a story at least.

I am definitely seeing the benefit of agents! Yes, it’s frustrating to have another layer to go through; but they negotiate the contracts (and while a lot of the contracts stuff is important, it’s also dense – it’s definitely worth having someone on your side to tell you what the benefits of various options are, even though I’m arguing over a percentage point at times…) and also – a huge plus on my side – have already vetted the books I see. A minus in that they’ve already done one layer of skimming, but a plus in that I don’t have to try to fit reading that much into my schedule! Agents also learn what the editors like, so will send things based on our criteria. There seems to be a lot of hate for the agent gateway/chokehold etc, but I can definitely see the benefit.

Commercial considerations are frustratingly big. We have to make money – that’s the baseline. It costs time and space for editors, even if one of us does all the jobs of formatting/reading/covers etc… and for every book we take on as a “I really love this and I want it to be out there!” we have to take on a “people will buy this”. Also, sequels: I entirely get the frustration of not wanting to start a series without knowing the end, but we can’t risk paying for six books when we don’t know if they’ll sell (or, we’d pay such a low price that it’s not fair to the author.) We’d buy one with an option on the next, sometimes two, maybe (riskily!) three – but you need to be buying the first ones.

Short stories are definitely useful. Having your name in the industry and proving that people will buy your work is useful; any kind of track record is good just to show me that you are out there and can do this writing thing! Also knowing industry people, or being known; panels at conventions, interviews, or even just presence at conventions are all good. If you’ve pitched us with writing before, then we’ll also likely remember you – although this is for good or for ill!

Also, pitch. To all writers: keep pitching. Keep writing. There is so much truth in the “I love this book but it’s not quite right for me now” – the It’s Not You, It’s Me of the writing world! Sometimes the last fantasy Western didn’t do too well, and I can’t spin this one past my boss. Sometimes I don’t think the world needs another grimdark. Sometimes we have to choose between a (very good!) epic fantasy and something a bit weirder, and one has to win. There is so much timing and personality and market forces and…urgh. Seriously, just keep trying. If you get rejected, then you can always shelve the novel and come back to it later.

Be easy to work with. I know, there’s all sorts of personalities in the world, and most of the time people manage pretty good working relationships. But I was reminded of how useful it is to be able to work well with people by an author I gave some (fairly harsh!) feedback to recently – and they were very sweet and grateful, when I was expecting a tantrum. It means they’ve got up several points in my estimation and actually, even though I don’t want the book in its current state, I’m more willing to take a look at it again!

Think of it as a business and you’ll get further. As as an author, you are allowed to push back. It is your book and your writing: if you’ve got a contract and publication deal then it’s a bit of a different power dynamic, but there’s usually space for negotiation on editing tweaks. If you’re going to push back (and you may have to!) then do it gently but firmly; work out where your line is and why. There are clauses in the contracts for disputes, and if I think a book I want to take will need major changes then I’ll usually say in the negotiations – but for anything minor, you should be able to come to an agreement. (Of course, sometimes it’s a flat no from your editor, and that’s why you need to work out your boundaries.)

And, one for me:

I am allowed to be enthusiastic. I love the books and authors I get to work with. I love my job, even when it frustrates me and I have deadlines piling up. I love the work, even though I’m still learning – and I hope I’ll always be learning!

I’m allowed to get things wrong. That’s how I learn. I have to make mistakes: I just shouldn’t make the same one twice.

I’m allowed to grow. I’m a professional. I’m someone who now has larger shoes and a larger outline to fill – and damnit, I’m allowed to fill it.

So – I’m happy. I’m learning. I’m growing. And I’m loving my job! I get to read amazing books for a living – what more could I want?!

No learning is ever wasted

I’ve had quite a few people over the past few months apologising for talking about something they love, or that I don’t know anything about, or that they think I’m not interested in.

And fair enough, if you talk AT me about football for more than about fifteen minutes, I will probably end up trying to keep the blank look off my face, and escape as soon as possible. But for anything else? Hell, no! I love it when someone’s passionate about something – you can see them just light up, and that’s just amazing. Listening to someone talk about something that they’re passionate about is a real pleasure. I’ve had discussions with my colleague about swordfighting, mythology, Frankenstein, bitcoin….I know a bit about some of those things, but it’s just such a nice feeling to talk to someone about something they’re interested – and knowledgeable – about.

And even if it’s something you think is silly, like Pokemon (the amount of people who have apologised for being interested in Pokemon…) or computer games or…just STOP. They’re all interesting! They’re all something you’re passionate about! Allow yourself to be interested! Ok, yes, sure, you need to read the conversation, and be aware when you’re boring someone – but then that’s the difference between talking TO someone and talking AT someone.

And – honestly – I love learning. As the title says, no learning is ever wasted – I’ve got so many random things squirrelled away in the back of my brain that will likely go into a book, or drop into a random conversation, or just make some odd connection that I can be interested in myself.

So don’t ever apologise for being interested in something and talking about it. Nothing’s ever wasted when you’re talking to a writer!

Random musings on “no new stories” and writing new stories

I’ve been plotting a series of cozy murder mysteries (which may or may not have resulted in me wandering around the house muttering to myself, occasionally absently chatting to my mother about the best way to sneakily kill someone, and maniacally laughing) but I’m struggling to write them, and I still can’t get the damn voice for Necromancer’s Charm right. I’ve been feeling grey and annoyed; writer’s block at its finest, when there doesn’t seem to be anything stopping me writing, but I just can’t get it right.

So I trundled over to see Adrian last night for a kick up the butt and some advice (and a few board games).

“Well, it’s yer ego.” (He’s actually insufferable if you ever meet him in person. Half of my job is a beta reader and half is his ego-flattener, because he needs both :-D). “You’re trying to write something popular, not what you want to write. You’re a good writer but you aren’t writing something you’ll enjoy.”

I promptly argued back that No Man’s Land was what I wanted to write, and that’s not what anyone wants right now. I do need to at least have one eye on what agents/publishers/readers want…so we had a discussion, and I threw some ideas at him. And then he threw one back at me.

Now, there’s no new ideas. Every story boils down to a few things, and as Desire says in Gaiman’s Sandman, every story boils down to the same thing; someone wants something. Sometimes they get it, sometimes they don’t.

But one of the problems of being a writer is that you have far more ideas than you could ever write. I have a folder stuffed with them! But because I can’t ever write them all, I’m happy to give them away: after all, if someone can write that story, then best of luck to them! And I’m lucky that Adrian thinks the same.

Besides, as I spotted the other day someplace on Twitter; every story has already been told. It just hasn’t been told by you.

So I have a base idea from Adrian, fitting in with the general time period and theme that I wanted to use. How I tell it is going to be my story; I’ll add twists, tell it in my own way, give it my own spin. It doesn’t stop him using it; if he ever did want to, he’d put enough of his own spin on it that it wouldn’t be the same story, even though it might have come from the same root. Maybe we could start a new genre…

Anyway. I’m not going to tell you anything about it, beyond that it’s a cross between Moist Von Lipwig, Agatha Christie and Only Fools And Horses – and may involve a parrot. Watch this space and we’ll see if this works!

How To Plot When You’re A Pantser

If you’re a Pantser writer, you…well, you make it up as you go along. Which is great, but what happens when you aren’t sure what happens next? Or you write a bunch of scenes and then they don’t fit in anything?

NaNo’s coined the term Plantser for someone who plans and plots, and I’ve previously gone into the difference between Pantsers and Plotters – but how does a mixture of both even work?

Well, try it in stages from the top!


Ok. Start with your tagline. A one-sentence summary of what your book is about: Boy meets girl. Hobbit takes the ring to Mordor. Good vs evil.  You can always do several of these if you want, highlighting different aspects.

If you’re not sure, then that’s ok; you can leave a question mark and come back to it.


Then expand your tagline – do a couple of sentences. If someone asked you what your book was about, what would you tell them?

This one is a bit more important: what sort of story do you want to write? Do you want romance? Adventure? Friendship? Dark emotions and betrayal? What’s your world like? Put those together, and you can end up with something like “protagonist goes on an adventure and meets an anti-hero, with romantic elements”…ok, not the most catchy thing, but it’ll give you some idea of what you want for the overall story. Again, this can change, so don’t worry.

Basic plot

Hobbit found by wizard, meets group, gets ring, goes to Mordor, puts ring in fire. Of course, you can then weave your second plotline in; hero raises armies, fights evil, defeats evil, becomes king. But as a very basic summary, what actually happens?

You can do this for character plots as well as action; what does your character discover? How do the events affect them? What do they learn? Protagonist meets friend, discovers secret, falls out with friend, realises they’re wrong, makes up with friend – that’s as much a plot as battles.

If you’re the kind of Pantser who starts from one scene or one element, this is the point that you expand from there. If that scene is at the end, how did they get there? What needed to have happened before for all those events to take place? If it’s at the start, try extrapolating outwards. Who’s annoyed? Who’s pleased? What will a romantic alliance do for the kingdom? (Cliche, I know, but you get the idea).

Expanded plot

For each of the points you’ve made for your plot, expand again. You can either do this under the plot points, or at this stage, divide it into rough chapters. Try to do five points for each section/chapter; what are the main actions in this part? How does the hero reach Mordor – who does he meet, who does he fight? Or in the case of your character plots, what does your protagonist learn? What actions happen as a result of that?

Expand Again

And then you keep expanding. Sooner or later, you’ll start writing – a section, a paragraph, a sentence. Write a scrap of dialogue for a section as a reminder; put a note about scenery; mention someone really cool who’s going to appear here and then turn up somewhere important later. This expansion is where you put the details in, and you’ll find that you start writing…and because you’ve got that overarching plot structure, it doesn’t matter if you only write bits.

I’m all for skipping scenes, by the way – as long as you leave “hero fights nasty thing and gets wounded” then you can move straight onto “hero gets nursed back to health by attractive love interest”, and fill in the fight later.

Going Off The Rails

This is a difficult one. I sometimes find that the bitty scenes I write go in a different direction to the one I wanted them to (being a Pantser is FUN!) because the protagonists have just screamed at each other and now aren’t talking, when I needed them to be at least civil for the Next Big Fight Scene.

So, you’ve got a couple of options.

  1. Move that scene. Is there another fight earlier or later? Or another point where actually, some tension would work? Can you shift the [insert monster here] to another section of plot, and replace it with something else?
  2. Rewrite – and save the scene! I have files and files of odd bits of writing; plot that didn’t work, dialogue I’ve rewritten, scenes I can’t use. Sometimes, you do have to look at what you’ve written, and admit it’s lovely but it doesn’t work…and rewrite.
  3. Go with it! Can you have that Big Fight Scene with them hating each other? Can you fit in an apology beforehand when it’s clear the world is bigger than them? Or do you want to redo the end plot structure completely and leave them hating each other?

The amazing thing about plotting as a Pantser is that it’s flexible. Move things, delete things, shift things, rewrite things. You’ve got the framework, sure, but even that can move.

Mix It All Up

Of course, you can do all of this the other way round. Start with each chapter; what happens in the chapter? Summarise it to the main bullet points, and from there, reduce it down, and then down again. Hopefully, you’ll be able to see what your main plot thread is – and then see what your book is about.

And the expanded plotline is also very useful for your synopsis – what’s happening when? Writing a synopsis is a whole ‘nother thing, but at least you have a place to start – so remember to save your plotline structure before you start writing!


So, there you go – basically, the plot outline is a tool to help you have a loose framework for your scenes. If they go off the rails, no problem. And if you’re not sure what’s going to happen, have no idea of plot or outcomes, and don’t know what sort of story you want…well, revert to pure Pantser, and just write!