|
|
Our Mission Our Promise The Imprints Author Introduction Book Production & Sales Working With Your Editor
Manuscript Submission Instruction & Guidelines
American Book Titles Available Here And At Bookstores Near You.
Comments From The Industry & Authors About American Book.
Company Information Press Releases Review Book Requests
Over 100 Articles All Written By Our Very Own Authors & Editors!
Information for obtaining Subsidiary Rights & Use Permissions.
Comprehensive List of Best Writer Resources.
Instructions & Banners
We Welcome Your Questions & Comments Please E-Mail Us Here
|
|
The Editor as a Coach
In the world of publishing it is common for editors and authors to be considered combatants, vying for domination. This is quite an unnecessary set of circumstances for the vast majority of author/editor relationships. There exists a middle ground upon which authors and editors can exist harmoniously. It is primarily the responsibility of the editor to establish this standard of meeting on the middle ground, by the tone with which the editor interacts with the author. The editor who applies himself to the work as a coach invokes collaboration and invites satisfying cooperation from the author. Many disciplines employ the use of a coach to prepare, train or direct its participants toward the goal of their best performance. Given the set of abilities that a specific performer presents, an individual may be a voice coach, a dance coach, an acting coach or one of a variety of coaches in the field of athletics. The rationale behind an editor considering himself as a coach is multi-faceted. An editor carries a weighty responsibility, one on which the successful presentation of an author’s work depends. This work must be viable in the marketplace. It should be compelling, enlightening and a "good read" for its readership. Though the finished product may invoke a challenge to those who read it, the challenge should not be the chore of reading the book. Thus, ease of reading, clarity and an unencumbered flow to this showcase of ideas is mandatory. In this regard, the editor must function as an authoritative expert on the subject of editing. Hinging on the successful outcome of the relationship between the author and the editor are the successes of the publisher, publicist, book designer and press. This is the team. The team’s goals are to establish the author’s success. When the author wins, the whole team will have won. As such, a combative relationship with the author is not conducive to the overall goal of the team. When an editor considers his role as that of a coach, domination has no place. He looks beyond himself. He looks towards what is best for the team. Such modus operandi foils egoism. The coach seeks to lead the team to victory. A positive relationship with the author becomes a goal for the sake of the team. In the game of basketball, the owners, management and players expect the coach to perform this type of function for the purpose of developing a winning team. There are two NBA head coaches whose style I’ve found great satisfaction in studying. Both have coached championship teams of renown. When speaking of Rudy Tomjanovich, head coach of the Houston Rockets, Hakeem Olajuwon, center for the Rockets, has been quoted as saying: "He has been so enjoyable to play for. He does not have an ego. It’s a wonderful attribute, not just as a coach but as a person. Rudy is completely sincere. He has a great commitment to his players and that is all you can ask for in a coach." In 1985, speaking of then head coach Pat Riley, the Los Angeles Laker’s General Manager Jerry West told Sports Illustrated: "He’s inventive. He makes good, quick decisions in games. He has the faith of the team and the knowledge to design an offense for the players and not the coach. He has tremendous belief in himself and his sense of his role here. He has the perfect temperament." For the good of their teams and to lead them to championship levels of victory, these gentlemen set aside their egos. Gleaning from the examples of these and other coaches in various disciplines, I conclude that when the performer, player, artist or author knows that a coach is sincerely committed to their best outcome, an amicable working relationship ensues. Many of the qualities that players speak of with regard to their athletic coach are the same qualities that a good editor must bring to his editing responsibilities. A good editor should appeal to the author’s strengths, be inventive, make good decisions, be sincere and show commitment. A good editor, functioning conceptually as a coach, should employ motivational strategies that clearly and decisively steer the author to the point of generating their very best work for publication. The editor knows the marketplace for the book. He should also have a concept of the books potential in that market. When the editor spots a weakness in the author’s work, he cordially and with consideration for the author’s role on the team should request the necessary changes. The coaching editor keeps in mind that it is the ability, talent, story concept and efforts of an individual’s work that is before him to be edited. The author’s courage and effort is honorable. When rewrites are necessary, the coaching editor should reflect that realization and motivate the author to reach for the greatest potential that the book possesses. In the NBA, the ultimate in success is the NBA championship. For book authors, the ultimate success may be a literary award or finding your place on the best seller’s list. Motivate your author to achieve the best that his talent can support. Every novelist writes for the purpose of being read, sharing ideas and exciting readers with their talent. When demanding that changes be made to the author’s work, appeal to his desire for these purposed outcomes. If an author’s wit is charming but the context of his humorous attempt is offensive, explain how this issue will defeat his purpose of sharing his wit with the reading public. When the editor as coach takes the time to explain how the changes will further the author’s intended purposes, ease of acceptance of the need for change is common. Tactfully explaining how the editor’s changes will positively affect marketability, readership and future publishing opportunities will have a positive impact upon the author. Writing without any guarantee of acceptance for publication, the dedicated author has shown commitment to his craft by completing the manuscript. Sometimes, the author may know "what" needs improvement, but he may not know "how" to make the improvement. Show him. Give samples and examples. Change it. The problem may be so glaringly obvious to the editor that he feels like screaming. My recommendation is to go ahead, scream! When you finish screaming, calm down, write a sample, give an example then, contact your author with the changes you deem necessary. While you may determine within yourself that the author really needs a course in writing, the course is not what is before you at present. The job of editing this manuscript for its greatest potential is what stands before you. It is the editor’s job to insure that the author has been presented in the best light possible, so that his book will be a success. Coach your way into the arena of champions. You can do it. I believe you can. By Darci Williams, a senior editor for American Book Publishing. © 2005 American Book Publishing™ *All other trademarks used by permission. All rights reserved. Privacy Policy and Trademarke Policy.
|
