So more about the structural edit on a novel. This would melt the average person’s brain, but years of experience teaches you to suck it up. As I eluded to on my fourth blog; Michelle and I submit what we believe to be our best work. We’ve read, checked, edited and re-drafted. We can’t find a darn thing wrong with it.
The publisher reads it, the structural editor reads it then they send us ‘the report.’ Ominous drum roll please. This report is several pages long. Luckily it does start with ‘what a wonderful novel, it’s a great read and will be a huge success.’
Which is a good thing, because the next several thousand words are gut-wrenching. They are ‘suggestions’ of changes, for example; more insight into this character’s background, perhaps an argument between those two characters to really show their feelings, that character needs more, much more building up, we don’t hear enough from that character either. So basically they want about 20,000 more words. Easy, I say, then I read the last few lines. ‘And it’s too long, cut out 20,000 more words.’ This is about when Michelle rings me and we moan and groan in frustration on the phone together.
Cutting is SO hard. Michelle is the expert at cutting and truly believes the work is better for it. I bleed each time my lovely words get cut. Yet another vital difference in the two sides of Cate Kendall. Then the publisher gets it again. It’s nearly right, just a few suggestions from their copy editor. Then they’re happy. I love making Random House happy. They’re very lovely people who have darling book contracts in their top drawer.
See you tomorrow. Lisa Blundell (AKA ½ Cate Kendall)