the craft. collaboration with your editor.

So much emphasis is always placed on pitching. How to craft it, develop our ideas, and know the right things to say. We recently hosted a workshop with managing editor of CRWN Magazine Ashley Simpo on this very topic. We’re so used to rejection as writers, but what exactly happens when an editor says yes? For the next four weeks, we’ll discuss Life After the Pitch.

You’ve written the draft and whew, that’s the hardest part, right? Actually getting those words on the page and feeling confident enough to hit send. If you’re anything like me, you may or may not close your eyes when you do. But the fact of the matter is, you did it! However, it’s not the end of the road. Unless you’re just that girl, which you are, but every writer needs editing at least in my opinion. There is something about an objective perspective that feels all too necessary to make a piece its best.

So you’ll send it and wait and depending on the final deadline, eventually you’ll get some thoughts back. I’ve been working a lot lately right in Google Docs with editors. But it all depends. Sometimes they want Word docs, all those things are important to discuss ahead of time. And they will use suggested edits in the piece and/or leave comments in the margins.

Editors are the best at finding the areas where I could have pushed a little more. Where I may have left out some detail. Maybe there is more backstory or context needed. Maybe they feel a quote I pulled didn’t pack the same power I thought it did. Sometimes a sentence reads oddly and a small tweak makes it sing. They may point out that my lead is actually the third paragraph. All these small things that we can miss when we originate the work.

You know, it’s interesting to me that some writers are very sensitive about being edited. And I honestly think it’s a little short sighted. I’ve referenced before that Toni Morrison had an editor. And well, if you’re thinking you don’t need one, more power to you. It’s not about your writing not being amazing, it’s about the collaboration to tell the best story possible.

You’ll figure out your own approach to editing. I tend to like to digest the edits first before I actually start moving things around. A lot of times with some space from the piece, I also see things I may naturally want to improve as well. I’m thoughtful about my approach to edits because moving in haste can be detrimental. Sometimes, I even save two different drafts if it’s a large overhaul of the piece. So I can always reference the original. And when I feel ready, I dig in.

Over the years, I’ve gotten so much more excited about the revision process. It’s like I finally understand that what I write first isn’t necessarily my best. The first draft is only a step to getting to my best thoughts. And when I’m able to go back in and spruce things up and move things around, it makes me feel like I’m a surgeon, intricately stitching the real story together. The work really is in the editing like all those English teachers tried to tell us in the first place.

So get on it, be thoughtful about the changes you’re making and remember this … even in journalism, like in writing a book or anything, edits are technically suggestions. Now, some editors may not love to hear that, but the reality is, you’re the author, my friend and the master of your piece’s fate. So, if there are edits you just don’t think are it, you have the right to STET which we’ve talked about in the craft before. But don’t let your ego be too involved. Ask yourself, does this compromise what I was trying to say? Is this too far off the path of what I’d hoped to convey? Does this change the tone? At the end of the day, it’s your name on the byline and when you’re done with the editing process, you want to feel proud of the work you put out.

Here’s the gag though, I’ve alway felt like a piece was much better after being edited. Most, if not all, editors I’ve worked with so far have made me a better writer. They’ve helped me see things more clearly or from a different perspective all together. After I work with great editors, every time I sit down to write something new, I’m weaving all the best elements of their insight into my writing. Thank God for Lashanda Anakwah pointing out all my “thats” in my first manuscript draft. LOL. Now every time I write, I go back to take out unnecessary “thats.”

The goal is to be our best. At least it should be. And editing does that. So jump in and make sure you get your piece back in good shape on a reasonable timeline. You may go back and forth a bit more until both of you are satisfied and then it’s pub time!

One thing I haven’t been the greatest at which I would recommend is keeping track of the really great editors you’ve worked with in a spreadsheet. I mean, we all know the media landscape is hella bleak right now, so they may not always be at the same publication, but they’ll be somewhere, and you should try to keep up with them and engage in meaningful ways so that there may be other opportunities to work with them in the future.

We always want to leave those we work with, with positive vibes, friends, because talent will get you far, but being likable and reliable will always get you farther.

Next week: We’ll discuss the hell of Net 30 and being a good promo partner to wrap up this series on Life After the Pitch.

Writing/Job Opportunities

Turning Points Writing Retreat hosted by Courtney Maum is accepting applications for their fall retreat. https://www.courtneymaum.com/writing-retreats.

Elizabeth Gulino is accepting sex & relationship pitches — please check Refinery29 to see the kinds of things they’re publishing and pitch elizabeth.gulino@vice.com with the subject PITCH: + your proposed hed.

GQ is hiring a Culture Editor. (New York, $65K-$103k)

Humanitas is hiring a Teaching Artist to teach screenwriting at Hollywood High School. (May 17 deadline)

Authors Publish is seeking a Creative Nonfiction Instructor.

The New York Times is accepting applications for their Editing Residency. ($90,870)

Urban Institute is hiring a Writer (Office of Communications). ($65-$96k)

To Be Read

Dawn Davis Resigns as Bon Appétit Editor to Rejoin Simon & Schuster

The Exhibit That Reveals Toni Morrison’s Obsessions

The Woman Shaping a Generation of Black Thought

Questlove Releases First Young Adult Novel Under His Publishing Imprint

Rekindle Your Love for Books with These Must-Read Narratives by Latine Authors

Book Bans Affect Everybody - Here’s How You Can Help