You’re sitting on the mahogany armchair on the patio outside your holiday bungalow, the ice in your Piña Colada melting at just the right pace under the scorching but friendly Mediterranean sun, the brim of your Paul Smith sun hat pulled down low while its roasted-straw-scent distracts you from the concluding chapter of the sequel to your one-hit-wonder published less than six months ago. You’re on holiday five thousand miles away, after the twenty-hour autograph-signing and press conference in New York two days ago. But you’re perturbed because your Armani shades are useless against the glare on your MacBook Air… Honestly, really?
You’re shivering hard despite a hot water bottle pressed against your empty stomach underneath two hoodies, a coat and three duvets, in front of the desk that squeaks every time you press what is left of the space bar on your vintage Windows XP laptop. It’s 2am, the smell of burnt toast from the kitchen downstairs and the emphatic celebration and swearing from a video game duel between the male students next door are driving you insane, but you daren’t leave your cocoon and punch on their door to demand peace and silence because the radiator is broken and it’s sub-zero in the apartment building. There’s no deadline for your book, but you’re stressed because this is the third time your book’s been turned down by rude and snobby publishers. Nothing’s working for you, but you’re too stubborn to give up. You need something, but what is it?
Both the hot-shot writer and the subsisting writer are not happy with their respective lives at the moment, despite the disparity in success, because they’re suffering within the same painful process: Editing.
Remember Hemingway’s famous maxim: “Write drunk, edit sober”? That might explain the nightmares faced by the above two versions of you. The more capricious your first draft, the more excruciating your editing hangover. But why is editing such a gruesome experience?
Let’s look at the two types of editing:
Mechanical editing is essentially proofreading. To say that a piece of text requires this type of editing means that it needs to be thoroughly perused and then polished in terms of grammar and punctuation. As the name suggests, it’s a robotic process that involves painstaking attention to detail in order to completely eliminate all errors in spelling, vocabulary, grammar, punctuation and language usage. The editor begins by detecting and correcting straightforward typographical slips, then extends his jurisdiction as far as stylistic infelicities and stops right there. Alterations outside his scope belong to the next category of editing.
Creative editing, as its multiple aliases suggest, involves more general re-writing and re-organization for the purpose of improving the logic and flow of the book. In addition to logical changes, sometimes more subjective changes are also introduced and incorporated into the manuscript. Whether it be on the macroscopic scale that includes the reworking of storyline, character, tone or diction, or on the detailed level that assures the accuracy and consistency of minute facts, the creative editing process typically gives rise to the image of an over-caffeinated, red-eyed editor poring over a manuscript.
While creative editing allows for a less constrained type of input, it runs the risk of clipping wings or even damaging authenticity and spontaneity. This is why an author must choose carefully the editor in whose hands he places his manuscript.
Both of these types of editing share a common factor: they represent the archetypal ‘unfinishable’ job. However it is possibly this single facet of writing which sorts out the great work from the sloppy work.
Polish your work but know how far to go, where to stop, and when to call in reinforcements.