example of an edited page

An example of an edited manuscript. This is particularly messy, and has clearly gone through several hands and likely several drafts, but it gives you some idea of the work that goes into real line-editing.

Your work, of course, is expected to be readable, neat, clean, but again, don't be afraid to not only query the author, but make changes where they need to be made. However, do not make changes simply for the sake of making changes. If a manuscript is fine as it is, then let it STET. This is but one example. I'll post a cleaner example as well.

more on the Galassi | the yin & yang of publishing in the literary house

• Galassi reading, The Double Agent: The Role of the Literary Editor in the Commercial Publishing House. P. 79 The Art of Literary Publishing.
  
  1. An effective editor, according to Galassi, is someone who has all the good virtues of;
  Humor, tact, courage etc , what he says, “the primary requirement seems to me to be an eductated and well-defined taste.”
• 
  2. An editor should always have ideas of his own –
  shining light where none has shone before like Verba Mundi,
  and should know about his own culture, but about other cultures as well.
  
  3. What Galassi tells us, and I agree, is that often working for a big conglomerate and publishing trade literature (that is books that are often perceived as Editor’s Books, no necessarily immediate ‘sure things’) is like infiltrating for a purpose – almost a David and Goliath struggle between the Publishing House and the Editor who wants to publish his or her own books.
  
  4. The truth is, you will have to publish other books to support your literary trade books.
  
  a. You’ll have to publish books that, as he says, “pass” for literature –
  b. but when you find a book you TRULY believe in, be prepared to act – we spoke about this before –
  c. Having to fight for your book – at Ed. Board meetings, with the Publisher and so on. You’ll have to prove that the book is worth at least a chance and in doing this, you’ll have to ask yourself seriously how much of your own reputation are you willing to stake on this.
  

galassi's yin theory of publishing - from The Art of Literary Publishing - the yang theory

(above: chinese illustration of yin and yang relationship)


Galassi's YANG theory of the Author Editor relationship

a. This is the active side of the Editor’s role.

It means to reconcile and work the book to fit the reader’s needs and expectations, but mostly, their perceived needs.

To do this you need to clarify the writer’s intentions and get to the HEART OF THE MATTER , that inner core of the manuscript, the zeitgeist, the jewel of it, you want to give it the spit and polish and this is your job.

• 
  To do this well, you MUST inspire confidence in your Author – which is but one part of Author relations – your Author must trust you. They must trust you because you are to be their Editor, and in this way, you are essentially taking their ‘baby’ and reworking it. Remember that for each book, each Author, the book is incredibly close to the Author’s very being (usually). The Author is vested in his or her work in a major way. So this confindence in you is key.
  

galassi's yin theory of publishing - from The Art of Literary Publishing

Galassi and the Author - The Double Agent: The Role of the Literary Editor in Commercial Publishing, p. 79, The Art of Literary Publishing.

YIN

a. An equation of factors that combined equal critical empathy for the book and the Author.

For this you need to know:

• 
  How it feels to the writer (the book)
  How it is experienced by the reader
  Essentially you’re looking at the intent of the Author and how this is parlayed to the reader. As the Editor, it’s your job to make sure the message comes through the way the Author intended.

b. To achieve what he calls Critical Empathy (which are all of these things combined) you need to have a dispassionate distance. In short, you need to be able to work both at a remove as well as be able to put yourself entirely in the project.

• This Critical Empathy – just think of the work empathy – is an empathy and understanding of Author, Book, Intent, What the reader would expect given what the Author is trying for and it is your job to get the manuscript there.

contracts | help! - clauses for agents and authors

I know contracts can be hard - to that end, it may help to read a bit before you negotiate certain rights next week to really understand the author/editor relationship and bargaining lecture and review your notes afterward. More, I will make myself available both by email and telephone for any questions that you may have and you can set up an appointment to come and see me during office hours between five and six p.m. Remember, you can negotiate as much of the contract as you wish. The more you negotiate the better - but some of you may only negotiate subrights. Just be forewarned that although this is important, the rest of the contract is important as well - so don't ignore it and if you have questions, ask me. I will also be available during the class if you have questions.

As to contracts, I realize it may seem difficult or futile, but it is part and parcel of book-editing in that it is something book Editors do, or likely will do at some point in his or her career, unless you have the luxury of working for an extremely large house with a large legal department and even then, as a senior Editor or an Editorial Director, you will likely be expected to negotiate your own books with Agents and/or Authors.

More, every intern i placed last semester was asked if they knew how to negotiate a contract and knew subrights - so this is important and when you are looking for a job, you'll be glad you know this.....

For your next in-class exercise, here is what you should know, and this is important;

The contract is between you and your Author. You and the Author should feel free, MUST feel free, to edit as much of the contract as possible. The contract may be standard boiler plate, but that does NOT mean that you can't totally change it if you want to. Why not? It's your contract, make it work for you... and I say that to both parties here.

Since you have not negotiated contracts before, I would suggest some research, but I'll give you some pointers as well:

• 2.b - anywhere it says "At Author's Expense" if you are the agent, you want to define a limit to this amount or, try to get the publisher to cover the cost over all.
  
• When is the manuscript due? Set a reasonable date - usually a couple of years is fair. (clause 4) - look at all clauses in 4 - every clause in class 4 is important if you are the agent - and if you are the publisher, then you should really pay attention to clause four.
• 5- legal review: who pays for this?
• clause 7 - "style and manner" (clause a). Does the Author have any input? Do they get to see the cover etc before publication? This would be important to me anyway...
• clause 8 - when is the advance due?
• clause 9 - all royalty rates are negotiable within a reasonable fee; don't go crazy trying to get insane deep discounts or more money; be fair.
  
• When changes are made in galleys to the manuscript, the author pays for this generally.
• Who is paying for the illustrations, how much is the budget?
• Clause g in 4 - is only when you don't understand each other; let's assume that won't happen, but you prob. should negotiate on the off-chance. What if? Then who deals with the book? Decide what happens next if the company is bought out.
• (f) Edits - the Editor may make edits.
• Clause 6 - The Author's responsibilty. Is there a penalty if they don't keep up their end? What if you don't keep up your end of any part of the contract, by the way?
• Clause 7 - does your Author agree with everything in clause 7? Really?
• Clause 8 - Advance: you've decided this. Fill this in.
• Clause 9 - Royalties: negotiate.
• Clause 10 - Subrights: negotiate as you see fit. The subrights have a "split" in terms of percentages. Also, the Publisher may want to retain e-book rights in this day and age, etc - who knows - just remember that what you keep, you'll have to negotiate for it...
  
• Clause 11 - This is about Royalty Statements, accounting statements, when they are due and is pretty standard language. Negotiate if you see fit.
• Clause 12 - Author copies: how many copies of the book does the author get? Absolutely negotiable. These are free of charge copies.
• Clause 13 - Read this - you'll sort it out. It's an agree / disagree deal-breaker thing.
• Clause 14 a. - Termination: what if after publishing the book, the publisher decides there isn't really a market after all and wants to dispose of all copies? Do you want to keep this clause in?
• Clause 14 - The rest is technical and standard, but you can look it over and negotiate if you want to. This is harder.
• Clause 15 - Option: option on the author's next work for publication if they have faith in the author. This means the author cannot sell their next book to another publisher.
• Clause 16 - Competing Works: I have explained this to you. If you are still unclear, read the language again and if still unclear, please call me or email me.
• Clause 17 - Name & Likeness: obvious clause.

There are many other clauses - all clauses - but off the top of my head, these are some of the ones that are most often overlooked by students, so pay special attention to them, but again, the entire contract is important.

You should find the rest of the contract pretty standard and have no problems. I would fill it in as best as you can and read it through, but above are the key points. This is what you should be looking at.

I hope this helps. Again, I am available for all and any questions.

s.r.p.

how books are chosen | editor's books

illustration: Jack Kerouac's manuscript for On The Road
which he set as one long taped together manuscript
which he wrote on his typewriter. He said he taped
the pages together because he did not want to
interupt the flow of his writing and his thoughts.
This is just a small section of the manuscript. An original of Ulysses, 2nd pic.



How books are chosen will be a constant running theme of this course because it is a part and parcel of books that we edit. It is what we choose to edit, and for this reason, we learn how to not only edit and line-edit books, but really select books for publication, turn-down other manuscripts and query letters, read proposals and evaluate them, negotiate contracts as will perhaps likely be one day part of our job and also, I hope, participate in this course in a very active way, no matter how shy you may be (I too am shy, yet have to over-come this every week I speak before you and every time I go to an ed. board meeting). You have to stand up as an Editor or even as a Professor to convince, to at the end of the day, hopefully, inspire others to move into the field that you have chosen. Editing, in this way, is as I and others have said, an almost calling or faith. We do this on a wish and a prayer, but with a solid background. That is our goal here. Moving on... and keeping this in mind...

There are “Editor’s Books” – books that “move us”. What is your instinct and your passion? What tells you that a book is truly unique and you should publish it. Some people are sure that no manuscript that is truly great will go "undiscovered." Maybe the are right is right, maybe they are wrong wrong. Many factors come into play as we discussed. Keep those in mind as you write up your weekly e-mail. For class discussion, what do you think about books that are truly great not being discovered? Do you believe that a truly great book will be discovered eventually?

In your career as an editor, there is no doubt you are going to have to publish a lot of books that the publisher wants you to publish and that do you want to publish yourself. Books that you personally would not publish but have no choice in this case. If this happens, then you just have to suck it up like anyone and do it because this is what keeps the house the running.

Editors Books - Your Intuition & Instinct & How This Comes into Play...
But every now and then, once you have proven yourself a good worker in some way or a good editor, you may come across something truly unique. It may just be a “voice” and by voice I shouldn’t say “just” for discovering a new “voice” is wonderful thing – it’s a new way of telling a story and a new way of writing information that makes it different from any other writing. In a sense, that is an Editor’s Book.

But a true Editor’s Book is a book that does something that has never been done before. Authors who truly revolutionized writing; authors like;

Paul Bowles
John Barth
Jack Kerouac
Marguerite Duras
Georges Perec
Harry Mathews
William Gass
Nicholson Baker
David Foster Wallace
Zadie Smith
John Irving
William Faulkner... to name but a few.

We don’t have to like all of these authors, but they are more contemporary authors and this is why I chose them. We also have chosen Joyce who is also an Editor’s Author to be sure, but these authors’ are more than just contemporary. They give us, have given history, something that no other author has given us, and this is what we look for. If you can think of others authors who fit the bill and who have truly changed the face of writing, great. Again, even I don’t like the work of all of these authors, but their work is exceptional in some way and that is what counts the most. It is not about having a "voice", it is about changing how writing is written. It may even take us a while to get used to the style of writing. These writers first books may not do so well, but in due course, they will succeed, and that is what is the true test here. This is where an Editor succeeds.

Think of the Oulipo school of writers – the French school of writers who play word games (see link or Google the word) – in a sense they revolutionized and revolutionize (though I am not sure how active they are now) writing during their time and today. Harry Mathews is an Oulipo writer, so is Georges Perec who wrote the book A Void, entirely without the letter "e", and even more amazing, the book was translated into English, also without the letter "e". Another writer, a French writer is Jean Echenoz, but he is only available in French for the most part - he too could be considered an Editor's Author because he just won Le Prix Goncourt for his unique style of writing (this is like winning the Pulitzer).

We spoke about the history of Ulysses by Joyce: - first published by Sylvia Beach at Shakespeare and Company after it had been serialized in magazines. She published it in 1822. It was banned in the United States as pornography and if you were caught bringing it out or in then you could be prosecuted for distributing pornography.

Finally, Bennet Serf, one of the co-founders of Random House (he Donald Klopefer formed the house in the 1920s). Serf felt so passionately about the book that he took it before Judge Woolsey and won and Ulysses was granted to be published in the United States on December 6th, 1933. It was published by Random House in 1934. Random House got its name because according to Serf, books were published "at random" - just books they liked or felt moved to published - hence the name of the house.

A Cuban author, Raul Rivero, noted for his political writings (though not connected to Joyce,) said something that was quite notable and humorous, “It’s a very special book because it was edited by the police.”

Hopefully, this will not happen to your Editor’s Books – a book you truly love and is your "baby" as you shepherd it through the editorial process...That said, your ultimate goal is to publish a book thtat has the lasting power of a book like Uylesses and it is possible. Classics are built through the years and you may not even know you have published a classic until many years later - or even after you are dead! A classic is a book that does not have a short half-life, but instead, never dies.

editor as negotiator | contract information as negotiator

The Editor as Negotiator ~ Diplomacy

Editing contracts may or may not be part of your job as an editor at a publishing house. No doubt initially it will not be or in the very least you will be expected to know what a contract is and particularly subrights. That said, it’s good to know what a contact is, what will come of it should you work you way up the ladder at some point because you will be negotiating if you do become an editor or an editorial director.

There were several points of note in the reading that stood out: the first was style, the different ways in which editors will develop their own personal styles for negotiating a contract as they move through their career. Ideally, you do not want to come away from it by being an aggressive bulldog, though this is the approach some people do take. Your goal should be to get the best deal possible for your publishing house (this is your primary obligation as you know by know; whatever your job is, it’s always first and foremost to your publishing house, so we don’t need to say that again.). After this, your ethics are divided, once the contract is negotiated – your obligation is to stand by the promises you have made to your author and the promises made to your house. It’s a balance.

Be forward thinking – don’t just look at the “now”. Think four, ten, or more years into the future, especially with subrights. You never know what’s going to happen with your book. You don’t know if you are going to get offered a film deal four years down the road from the most ‘unexpected book’ or a translation offer, so your job would be to try to hold on to the highest percentage of translation rights as possible – all subrights, in fact. In short, as you go through your contract, you will be negotiating most of it – since this is graded – you will negotiate as much or as little of the contract as you want or see fit depending on how much of the contract you have come to understand. Some may negotiate more than others. It’s entirely up to you, but will be reflected – remember, in a real world situation, which this does mimic – this is not simply a futile exercise – you will be doing exactly what you are doing now with books you know little about based on proposals or worse, query letters – with authors you know very little about. The exercise you had was quite similar to a real-world experience of what you will be dealing with.

Look at Reversion Rights, Reprint Rights, Non-compete rights – works that compete with the existing work as we discussed. A book that the author wants to put out at the same time on the same topic. You must build in or have a clause that says something to the affect that they cannot do this within a reasonable amount of time so that you have time to sell your book. But REMEMBER, the entire contract is important and negotiable.

Treat your author or the agent you are negotiating with respect and take them seriously. This is a serious negotiating matter and you’ll want to factor that in – there can often be big money involved – if not to you what seems like a huge amount, imagine if you are an author living independently and this is your only source of income, ten-thousand dollars for one or two years work on a book is not a great deal of money when you think about it for the amount of work required. You’re not offering a lot for a lot of work. Conglomerates have changed this a great deal, I think, by paying bigger advances to certain authors and smaller houses paying smaller advances to lesser known authors, although don’t romanticize too much; first time authors have never been paid a great deal of money.

Almost all contracts are boilerplate within reason with small variations here and there, but they are standard with the standard clauses. Familiarize yourself with them. Even if you feel you will never have to use or negotiate a contract (you may have a legal department or a subrights department), as Editorial Director, I had to negotiate every contract that came for every book I bought and so far, every book that I have sold, I have negotiated directly, or my agent has, with the Editor him or herself.

Frankfurt Book Fair – You all know about this, but keep it in mind as a big money-maker for your company for the right kind of books. When you sign a book, think about how well it might do in another country in translation. When you prepare for Frankfurt, think about which books you are going to try to sell and to whom. Frankfurt is generally the first week in October and is the entire week long with almost no breaks from early morning until 7 or so at night. If you leave early or pack early on the last day, you are penalized a fee.

Your job will be to handle all of these things with diplomacy and skill and seeming ease. Confidence is key here. Whether or not you are actually feeling confident, as in the beginning you probably will not, you must learn to know your subject fully, but project a certain confidence so that others have confidence in you. At bookfairs you represent the entire house for which you work, so it is entirely up to you to be the public face of said house, whether you are the publicist or the editor or even the author, the onus is on you.

Contracts are important because you will need to negotiate (and remember that everyone should come away from a negotiation feeling good).