On the Expectations of Editors
A Literary Article
Obviously, editors expect correct spelling, proper sentence structure and grammar, and interesting stories with traditionally employed hooks, twists and denouements. I can also say that most frown upon receiving manuscripts with bold print, underlining except for quoted book titles, colors and oddball fonts other than point 12 and either classic Arial or rebellious Times New Roman. Most issue guidelines telling submitters whether to single or double space. You, as a wannabe-published author, can also look up what a specific editor has previously accepted and learn their preferences. All of that is essential to getting what you want from this profession. But, there are other things not commonly discussed
that will do you in as a writer and relegate your 'incredibly magnificent' work to the trash bin.
Losing Ego I have several articles about this subject, two of which are, "Ridding the Radicals," and "What's It All About Anyway?" both available in my book, Collected Essays. You've heard the expression before, "Kill Your Darlings." It means, eliminating all those cutsey-putsey expressions that most appeal to you. You have to cut them out of your mind, remove everything that pertains to you personally in a story so that a reader can step into the shoes of your protagonist. Reminding them of your personal angst about anything will not endear you to them for long because everyone has similar problems and looks to fiction for escape. It is very hard to do, but the surgery must be done before you can get anywhere. All it takes is for an editor to think, "Damn, where have I heard that before?" and your story is doomed. Therefore, analyze what is and isn't you in a story and remove it. Change it to something a reader will sympathize with, or at least disguise you biases with enough camouflage that it cannot be recognized as a personal cause celebre.
Do Not Rewrite By that I mean, if a story is already well known, do not attempt to do it again unless you are doing non-fiction with an original interpretation. You've probably heard, "If it ain't broke, don't fix it." This applies very much to writing. Readers are much less interested in another version of an existing tale than a new one. Editors will be turned off almost automatically unless your incarnation is so much better than the original that it captures their imagination right out of the gate. Normally, they'll identify the first few paragraphs, think of it as plagiarism, and can it. Do yourself a big favor and be entirely original. Your plots can be similar to something done before, but never a mirrored image.
Expand Vocabulary That is why it exists, for you to make use of it. How many times have you heard a hackneyed phrase or marketing slogan that made you cringe or put the TV remote on 'silent,' until the advertisement went away? Think about writing as Sauron's Ring. It wants to reach the heights, to go home and be the best it can be. You do not need to think of yourself as expanding the literature for readers not as well educated as you. You do need to think of arming yourself for a war, finding all the right colors on your paint palette for a canvas, discovering the perfect melody or chord for a musical composition. Do that and you elevate not only yourself and your writing, but all who read it.
Destroy the Foes Who are they? If you have seen one of my edits, you probably know. Repetition is death, considered amateurish, not acceptable. So is a plethora of useless inter-connective terms that add nothing to your story. Readers want to encounter new phrases, not used before, original expressions of thought to make them think, not meaningless drivel. They look for provocative ideas, not echos.
"John took the red pail and moved the red pail to the red pail slot in the pail cubicle." If that doesn't get you shot, you will definitely not get it published. "Now was when I thought my thoughts were telling me to think more clearly with greater thought." That should get you cast off a cliff. "I walked into the bathroom again once more and when I got there I walked to the mirror and looked into the mirror to see my reflection reflecting again." That deserves an enforced Brussel Sprout souffle.
Identity Once an identity has been properly established, with a name, an occupation or other kinds of description, it need not be repeated often, certainly not on the same page. The only exception is when dialogue becomes potentially confusing as to who is speaking or thinking.
John said, "I love marshmallows."
Mary nodded in agreement.
"Especially the roasted kind," John added.
That 'John added' is wrong and not needed. If a conversation is going on between a few people, you can re-identify them for the reader perhaps once a page, but certainly not more. There are other, better ways, like mentioning something the reader knows is associated with a personality, or by viewing him/her through another's eyes or ears.
John said, "I love marshmallows."
Mary nodded in agreement, noticing the stick as he said: "Especially the roasted kind."
There are other problems to discuss, but these are the five primary problem areas that editors use to gauge the worthiness of submissions.
W. A. Rieser
