Writing Excuses 12.38: What Do Editors Really Want, with Toni Weisskopf and Cat Rambo
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wetranscriptsWriting Excuses 12.38: What Do Editors Really Want, with Toni Weisskopf and Cat Rambo
From http://www.writingexcuses.com/2017/09/
Key Points:
Q: What do editors really want?
A: Chocolate and bourbon. To give you a contract for your bestseller and $50,000. The next XXX, but not the same. To buy a book that works. The writer to do the work!
Q: What are they looking for when working with the editor?
A: The ability to take direction, to achieve the author's vision. How do we bridge the gap between "Don't write to the market" and "Editors buy for the market?" The first audience is yourself. Readers, like dogs, can smell crap. Write what you are passionate about.
Q: When an editor finds a problem, what is the next step?
A: A challenge to the author. Editors suggest fixes, but good authors don't do that, they do it their own way, in their own voice.
Q: What are some common pitfalls or advice?
A: Be timely. Don't try to be perfect, just respond, and keep the communication going. Ask yourself, "Will this news get better if I wait?" Editors are not parents or bosses. Collaboration is the name of the game.
Q: Is there an exemplary or hilarious incident from the trenches?
A: Don't respond to a rejection slip with the news that your mother liked the story. Arguing with rejection letters is pointless.
( Chocolate and bourbon, over and over... )
[Dan] So let's finish up. I'm very excited to hear our homework. Which is what I have written down as the Weisskopf possum theory.
[Toni] Oh, God. We don't have enough time for that.
[Laughter]
[Toni] Telling the possum story would be at least 10 minutes.
[Dan] Oh, well, we can't do that. Can you give us like a 10 second version of it?
[Toni] Cat, go first.
[Laughter]
[Cat] Here's my writing advice.
[Dan] Okay.
[Cat] Try something new this week. If you always write indoors, go right outdoors. If you always write by hand, try it on a typewriter. Just mix it up a little. See what happens.
[Dan] Awesome. That's great advice.
[Toni] All right. This has nothing to do with possums. But listen to dialogue. Sit down and write down, if you can, how people actually talk. This is not how you write dialogue, but it will help you writing dialogue.
[Dan] That's great advice.
[Howard] When she says listen to dialogue, listen to people speaking to each other. Not TV dialogue. Listen to people talking.
[Toni] Yes. Thank you.
[Dan] Aaron Sorkin…
[Toni] That's why you're the writer.
[Dan] One of my favorite bits of writing advice he gives is go sit in a coffee shop for an hour and just listen to people talking to each other.
[Toni] Yup.
[Dan] Awesome. Well, that is our show. Thank you very much, Cat and Toni, for being here. We are very excited.
[Cat, Tony] Thank you.
[Dan] Everyone else, you're out of excuses. Now go write.
From http://www.writingexcuses.com/2017/09/
Key Points:
Q: What do editors really want?
A: Chocolate and bourbon. To give you a contract for your bestseller and $50,000. The next XXX, but not the same. To buy a book that works. The writer to do the work!
Q: What are they looking for when working with the editor?
A: The ability to take direction, to achieve the author's vision. How do we bridge the gap between "Don't write to the market" and "Editors buy for the market?" The first audience is yourself. Readers, like dogs, can smell crap. Write what you are passionate about.
Q: When an editor finds a problem, what is the next step?
A: A challenge to the author. Editors suggest fixes, but good authors don't do that, they do it their own way, in their own voice.
Q: What are some common pitfalls or advice?
A: Be timely. Don't try to be perfect, just respond, and keep the communication going. Ask yourself, "Will this news get better if I wait?" Editors are not parents or bosses. Collaboration is the name of the game.
Q: Is there an exemplary or hilarious incident from the trenches?
A: Don't respond to a rejection slip with the news that your mother liked the story. Arguing with rejection letters is pointless.
( Chocolate and bourbon, over and over... )
[Dan] So let's finish up. I'm very excited to hear our homework. Which is what I have written down as the Weisskopf possum theory.
[Toni] Oh, God. We don't have enough time for that.
[Laughter]
[Toni] Telling the possum story would be at least 10 minutes.
[Dan] Oh, well, we can't do that. Can you give us like a 10 second version of it?
[Toni] Cat, go first.
[Laughter]
[Cat] Here's my writing advice.
[Dan] Okay.
[Cat] Try something new this week. If you always write indoors, go right outdoors. If you always write by hand, try it on a typewriter. Just mix it up a little. See what happens.
[Dan] Awesome. That's great advice.
[Toni] All right. This has nothing to do with possums. But listen to dialogue. Sit down and write down, if you can, how people actually talk. This is not how you write dialogue, but it will help you writing dialogue.
[Dan] That's great advice.
[Howard] When she says listen to dialogue, listen to people speaking to each other. Not TV dialogue. Listen to people talking.
[Toni] Yes. Thank you.
[Dan] Aaron Sorkin…
[Toni] That's why you're the writer.
[Dan] One of my favorite bits of writing advice he gives is go sit in a coffee shop for an hour and just listen to people talking to each other.
[Toni] Yup.
[Dan] Awesome. Well, that is our show. Thank you very much, Cat and Toni, for being here. We are very excited.
[Cat, Tony] Thank you.
[Dan] Everyone else, you're out of excuses. Now go write.
