I love looking back over older GA Newsletters. This gem about editing was published in the December 2006 issue - but is still very relevant today. I hope you enjoy!

There can be little doubt that editing is an extremely complicated process. Sure, anyone with basic literacy skills and a spellchecker can read through a story and correct spelling and grammatical mistakes. It's not exactly brain surgery. Yes, it takes a certain degree of skill and patience to comb through a story and spot the errors, to know how to put them right and to do so in a way that is helpful to the author, but as any good editor will know, this is only part of the process.

The job of an editor is not just to correct mistakes, but also to help an author learn to be the best that they can be, to make their story shine. For many authors, this may just mean rewording a bit of dialogue to make it seem a little more realistic or helping them to develop their descriptive skills, but sometimes a little more work and creativity is required. So, what do you do when you get a story or scene that doesn't quite work? Do you shrug your shoulders, correct the mistakes and move on or do you work with your author to help them fix it?

The answer to this question goes straight to the heart of the dynamics between author and editor. Some authors just want a glorified proofreader to look over their work, stick in a few commas and fix the spelling, but a good author, an author dedicated to developing their talent, will want something more. They will want their editor to help them to learn, to improve, to fix those sentences, paragraphs, scenes, even whole chapters that just don't work.

A good editor should never be afraid to tell their author when there is something in the story that simply isn't up to par. The question is, how do you do it without upsetting your author? How do you help them fix their story and expand their skills without offending them? Let's face it, the majority of authors have fairly fragile egos and telling them that their story is a steaming pile of crap is probably not the best way of dealing with the situation.

Ideally, the best approach is to discuss with your author right at the start how they would like you to deal with problems with plotline, structure and weaknesses in their writing. A gentle, but proactive approach is best. Authors rarely know what they actually need from an editor. Let's face it, there are very few authors who are truly capable of judging their own strengths and weaknesses, so it may be up to you, their editor, to spell it out to them. Suggest to them that the best way to deal with such problems is for you to let them know if you spot something that isn't working. Offer to provide notes to explain the problem and suggestions about how to fix it.

When you encounter a problem, don't be afraid to let your author know. Sure, they might get a little frustrated, but isn't it better that they hear from you that their story isn't working in places rather than from the readers afterwards? You need to be tactful, direct and, wherever possible, provide suggestions to help address the issues you encounter, but a good author will appreciate the opportunity to make their work the best it can possibly be rather than to publish something that is merely mediocre.

So, how do you go about it? One of the mistakes many editors make is to attempt to rewrite difficult sections themselves. Never do this. You're an editor and even if you know you can do a better job of it than the author, your job is not to become the author, but to guide them, help them to learn how to improve, let them write their own story in their own words. Think of it this way - when you're teaching someone to drive, you can get behind the wheel and demonstrate the maneuvers as much as you like, but until they're in the driver's seat they'll never master the technique. You can guide them, whisper words of encouragement in their ear, but if you do it for them they'll never learn.

When your author sends you a new chapter/story, read through it and be prepared to make notes about what you see. Be honest. When your author writes something that you really like, tell them. If a section of the story moves you, let them know. And where you see something that isn't working, be sure to tell them what, where and why. Maybe your author won't be interested in correcting their mistake, but if they are really serious about their writing they will listen, learn and rework a section until it's just right.

The editing process isn't about getting a piece of text, looking it over and sending back a corrected version, it's about developing a story. As an editor you play a vital role in the growth of your author, helping them expand their skills and making them the best that they can be. If they have to rewrite a chapter a dozen times before it's right, so be it. It's only through this process that an author can learn to master their craft and a story can go from being run-of-the-mill to a work of literary art.