Editing for Submission
What kind of edits to expect from an (editorial) agent
Hi everyone, welcome to the February edition of my newsletter!
Every writer is a teeny bit scared of and fascinated by the proverbial red pen, so I was unsurprised at the results of my January ‘what shall I write about next?’ poll! I’m tackling what kind of edits and what level of edits you can expect from an agent if they sign you, before you go on submission to editors.
Firstly, a big disclaimer. Every agent is different and the true answer to this question is simply ‘it depends’. As an ex-editor, I’m pretty happy to get stuck in. Other agents will be less editorial. But every agent will at least consider whether editorial work will be required for submission as part of whether to sign your manuscript.
Why edit before submission at all?
A fair question. The agent is planning on submitting your book to editors, after all. Isn’t editing their job? Plus, if an agent is willing to sign a project, surely the agent already thinks it’s good, otherwise they wouldn’t sign it – why not trust editors to see that potential too?
As a former acquiring editor, I have a little extra insight here. Yes, as an editor I did do lots of actual editing. But (a) that’s not necessarily the case with all editors, many of whom focus on acquiring/commissioning rather than editorial work per se and (b) the submissions editors are receiving from agents across the board are of an extremely high standard – and they are growing in quantity, too. Working at a small house (publishing around 32 books per year), I was receiving in the region of 400 submissions per year from agents alone.
So, although the odds are better than they are for authors trying to gain representation, agents are competing for a relatively small number of publishing slots. Submissions that not only have a great concept but also shine editorially have a better chance of standing out from the crowd.
In addition, editors are extremely busy. If a huge amount of work is required on a project - even if they love it - this may be offputting. Editing a manuscript before submission can make it more attractive as it may reduce the editor’s future workload!
Does the author have a say in what editorial work we’ll do?
Yes, 100%. The editorial work I’d like to do is one of the main considerations on the Call - the meeting I’ll have with an author ahead of signing them. I’ll run everything by them upfront. If what I’m suggesting feels like it’ll be a problem, we won’t sign. Luckily that hasn’t happened to me yet!
Is it possible to do too much editing before submission?
Yes, I think so. I actively don’t want a manuscript to be so brilliantly polished that (a) the author is absolutely exhausted and (b) the editor may struggle to envisage how to develop it further without undoing a lot of what’s on the page.
It’s difficult to explain exactly, but the best kinds of manuscripts to receive as an editor (in my opinion) still have a little ‘looseness’, a kind of flexibility allowing the editor/publisher to guide the novel on the last leg of its journey to readers.
In addition, it would be a huge waste of my and the author’s time to endlessly polish and tweak a manuscript only for it not to sell, which is always a possibility! I generally try to limit myself to two editorial rounds per project – one big one, one smaller one to tie up any glaring loose ends.
What kinds of edits do I consider implementing?
My aim in editing before submission is not to totally perfect the manuscript but to bring out the novel’s potential for publishers. Here are some of the kinds of edits I’ve suggested on manuscripts so far.
- Wordcount. Is the manuscript running too long (or short – but mainly long!) for commonly accepted market lengths? Publishers have been seeking shorter books lately in many genres, partly due to the increasing cost of production and partly due to demand from readers (e.g. in the children’s sector, gatekeepers have been asking for higher interest, lower reading age material for some time). If I can see opportunities to trim a manuscript to make it more attractive in this way, I will do so – I don’t want to give editors an excuse for an easy no.
- Executing the concept. If I’ve signed a novel, you can guarantee I absolutely loved the pitch – but maybe I don’t feel the concept plays out strongly enough on the page. For instance, say it’s a book with a message about grief but the theme isn’t fully tackled/resolved in the ending, the message isn’t clear. I might suggest ways to more fully explore and communicate the concept throughout the text.
- Novel structure. Structural editing is something every editor will tackle. However, if I can improve the structure to the point that this is an easier prospect for the editor, that’s a huge bonus. Maybe the novel has a fantastic first half but falls apart in the second, losing its narrative drive. Maybe it has a bit of a ‘saggy middle’. A number of things might help in structural edits – changing the story to inject more momentum, cutting sections, streamlining the number of characters… or even adding more into the book, an extra turning point, twist or dramatic scene.
- Line editing. Again, line editing is part of the process editorial staff follow to prepare a book for publication and basically involves working through a text on a line-by-line level. E.g. Does a scene feel properly paced and emotionally resonant? Is every chapter popping and fighting for its place in the story? Do chapters end on an irresistible line that propels the reader forward? I try not to do too much line-editing as it is incredibly time-consuming. However, especially at the beginning of a novel (since that’s the first thing an editor will read!), it’s important to show just how good the writing really can be.
How much pre-sub editing is normal?
Honestly, there is no ‘normal’. Every book is different and every author is at a different stage of their writing journey – it’s my job to meet them where they’re at and do what I can to prepare them and their manuscripts for submission. I’ve had projects so far which have involved massive structural work – others to which I have done virtually nothing. If it ain’t broke, don’t fix it!
And yes, I constantly interrogate whether I’ve done enough – or too much – to prepare manuscripts. It’s true that this industry is extremely subjective and my best guess as what ‘ready’ really is might not be the same as every editor’s!
I hope this helps shed some light on the subject. Please reach out if you have questions – plus, reply and let me know if you have an idea for my March newsletter! In other news, I’ve committed to finishing my WIP by the end of the month (which means this newsletter is pure procrastination – sigh). And I’m ramping up for the San Francisco Writing Festival in a couple of weeks – you can book in person 1-2-1 sessions with me via their website.
Thank so much for reading and hope to see you next time!
Kesia