Red Pen Redemption
A Writer's Journey from Fear to Collaboration
For many first-time authors (myself included), the prospect of working with an editor can be daunting—even mystifying. Tales of harsh critiques, wholesale manuscript revisions, and a general sense of adversarial relationship fuel these nightmares. It’s easy to see why so many approach the editorial process with trepidation, picturing the editor as some sort of gatekeeper, ready to reject their precious work at the slightest misstep.
Working with Ana at Sparks Editorial provided a significant shift in my understanding of the editorial process. I anticipated a more daunting process, but it proved to be remarkably collaborative. I found that my pre-conceived notions, while common, were very far from the truth. The following essay is a direct outcome of this process, and both Ana and I felt it was crucial to share our perspectives and debunk some of the most prevalent myths.
I’m Ana, L.G.’s editor! When he first reached out to me through an author referral, I could tell that some of these lingering impressions were on his mind, but through L.G.’s curiosity and open communication, we were quickly able to dispel some of those fears and work through others. Sending your manuscript to a complete stranger for critique will always be one of the most vulnerable feelings it’s possible to have! An author’s trust in an editor must be earned and built over time through quality work, but it may help to know that some of the most common stereotypes and tropes are no longer true in modern editing.
Fear of Criticism:
L.G. - Perhaps our biggest fear as writers is that an editor will tear apart our manuscript, highlighting every flaw and leaving us feeling wholly discouraged and inadequate. This fear stems from a misunderstanding of the editor’s role. Editors are not looking to criticize for the sake of it; their goal is to help the author polish their work and make it the best it can be. In my experience, working with an editor has been the exact opposite of critical. Not only have I received help with grammar, punctuation, and the nuts and bolts stuff, I have been offered suggestions on story structure, instances where I could expand on a subject, etc.
Ana - I won’t deny that there are editors out there who may take this approach, but if an editor ever makes you feel ashamed, discouraged, or overwhelmed by the weight of their criticism, that is a great sign they are not the editor for you. We aim to provide critique rather than criticism, and the right editor should be healing to your work rather than destructive.
Loss of Creative Control:
L.G. - Some writers worry that an editor will try to impose their own vision on the story, changing the author’s voice and diluting their unique style. The myth here is that editors want to rewrite the book. In reality, a good editor works with the author, respecting their creative choices and offering suggestions to enhance, not replace their vision. Again, the latter has been my experience. Wherever suggestions were made, they were just that—suggestions where I maintained complete control—I could accept or reject, with no feelings hurt (either way).
Ana - Again, if you ever feel this way, that is not the right editor for you! One of the huge benefits of publishing independently is the horizontal relationship of power, and there should never be pressure from “above” to accept changes that you’re not comfortable with, the way that there might be in traditional publishing. A good editor should surrender their own ego and commit themselves to helping your story come through clearly, attuning to your voice and your purpose as they work rather than imposing their own.
The “Red Pen of Doom”:
L.G. - The image of the editor wielding a red pen, slashing through every sentence, is a powerful and intimidating one. It conjures up a sense of judgment and rejection (not to mention essay titles and images). However, modern editing often involves digital tools and collaborative discussions, making the process much less adversarial than the “red pen” stereotype suggests. The digital age has made collaboration so much easier, and this makes for a much more open conversation regarding your project.
Ana - Honestly, there were times in my career when I tried out switching my tracked changes color to purple or even green for this exact reason! A document dripping with red ink brings back memories of harsh schoolmarms and hands rapped with rulers, but ultimately, there’s nothing more impactful on the page than a nice, strong red. Modern editing is about in-line notes, responses in Google comments, and links to resources. I’m in communication with my clients before, during, and after the process of editing, and nothing delights me more than seeing a notification pop up telling me that one of my authors has replied to my comment.
The Perfect Manuscript Myth:
L.G. - Many authors believe their manuscript needs to be perfect before it’s ready for an editor. This unrealistic expectation can lead to procrastination and anxiety. The truth is, editors expect manuscripts to have flaws. Their expertise lies in helping authors identify and address those flaws, turning a good manuscript into a great one. This is the one that really knocked the runner home for me. In fact, an email to my editor, in which I was relaying just this thought, was what inspired me to author this piece.
Ana - I don’t claim to speak for every editor, but I love mess! I’m no author myself, and it’s never been my gift to put a whole plot or novel on the page, but I can look at a story and see what it needs, and that is the most enjoyable part of my job. There is something very satisfying about moving words just slightly in a sentence and watching them click into place, or watching a paragraph pull together like sutures after tracked changes are accepted. Your editor is the one person you should never be embarrassed to see a rough draft! If your draft was already perfect, you would be wasting your money to hire us.
Knowing that I had an editor’s support had a profound impact on my writing process, particularly as I embarked on the latter half of my short story, The Tignon. Freed from the shackles of self-doubt and the constant worry of making mistakes, I discovered a newfound sense of liberation. With the assurance that my editor would help refine my work, I was able to let go and allow my creativity to flow uninhibited. The words seemed to dance onto the page effortlessly, and the joy of storytelling returned with a newfound intensity.
So, to my fellow writers, I urge you: don’t let the fear of working with an editor hold you back. Take the leap, and you might just discover that your anxieties are unfounded.
I sincerely hope this essay has, in some small way, helped illuminate the path toward a more confident and productive relationship with editors, and ultimately, helped you embrace the collaborative spirit of the editorial process, and unlock the full potential of your writing.
If you have questions about my experience, that weren’t answered above, reach out via the chat or drop me a message. If you would like to contact Ana regarding her services, you may reach out to her via Instagram or Threads, or at her website.
This was such an awesome article, L.G.! As someone who is looking to hire an editor once my current WIP is finished, this was insanely informative. I really liked the interview structure you took with the article.
I have to call out that phenomenal art you did as well! Amazing detail, and you really captured the Red Dead Redemption art style perfectly. Loved this piece!
This was a very good read and has amazing tips for new writers. I recently did the same as an editor offered a free 500 words and it was an amazing experience. I was nervous as well but I found it to be much more collaborative and comforting afterwards, and not only that but they identified the flaws that I couldn’t quite grasp.