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I’m so excited to share some of the work my students have been doing so far this semester.

I teach a class called “Building Your Author Platform.” The focus is to help our Professional Writing students who want to write books or in some way work with books build that platform so needed in the publishing world. I designed the class a few years ago after I studied under Professor Cathy Day at Ball State University in a class that focused on literary citizenship.

Much of the writing world is online—and as my students become a professional writers and/or prepare to be professionals in the publishing world, they need to be in that online community. In my class, I try to help them understand what it means to join the writing world “out there” and professionalize themselves in their writing careers.

I teach them about becoming good literary citizens and being ready to enter the literary world upon graduation. They learn how to use social media strategically to build networks with the people they need to know, to add to the conversations going on in their field of interest or writing genre, and to understand what to say and the best avenues to say it.

maranatha

Here we are at Maranatha Christian Writers Conference.

They spend the first part of the semester figuring out who they are and what they’re passionate about. They build a personal website centered around that passion. They look for other websites and blogs by people they admire–other writers or publishing professionals. They join Twitter or learn to use Twitter more strategically by building their tribe. They write “charming notes” (explained further here).

They each reported on different social media platforms and how they might use them to expand their tribes (Facebook pages, Reddit, Pinterest, Instagram, Snapchat, Goodreads), and we talked about where each of them might best need to “hang out” depending on where their tribe members are. We played with newsletter programs and created sample newsletters.

And every year I learn something new from them. This time around, since I do have a book coming out next summer, I realized that I need to do some polishing up of my social media presence. I learned from a student about Goodreads author pages–so I went in and built one. I’m also working on creating a newsletter. (Stay tuned!)

Here’s what my students have been up to:

(1) My student Jessie is a constant learner–someone who might suddenly have a question and can spend several hours researching and learning about something new. She decided to call her website Pioneer Curiosity, and there you will enjoy following along with her to learn about the next new thing.

(2) Taylor wants to be an editor (be still my heart), so she has created a website dedicated to the things she’s learning, the magic of words and great books, and the work she is ready to do for you! Check out Taylor Editing for her writing about this love of words–as well as her pricing for freelance work!

(3) Laura can write just about anything, but she loves writing about local people and things that get her out talking to someone interesting or visiting something amazing. Local is anywhere that you are, so she writes about Exploring Local and finding the fascinating things in your own backyard!

(4) Ari’s special interests include world-building and languages. She’s a fantasy and science fiction writer, a world-builder, and a conlanger (a person who constructs original languages). So over at The World-Maker’s House, she’s talking about those worlds that live in the minds of writers, worlds they’re trying to get on the page for their readers.

(5) Becca is graduating soon (as in a few weeks), and she has discovered a passion for helping young women with the pesky details of “adulting.” Tackling issues like budgeting money or polishing a resume or handling stress, her Extraordinary Young Women site will be helpful for any extraordinary young woman about to embark on the adult world.

maranatha-2

When you take students to a writers conference and wi-fi is an issue in the townhouse.

(6) Chrysa has already been around the block a few times–she came into class with an active blog and strong social media presence (oh yeah, and a couple of completed book manuscripts that she has pitched at writer’s conferences). Her delightful blog, Chrysa’s Corner, includes book reviews and advice on munchies to eat when reading and details of her journey as she tries to get her books published.

(7) Alycia also came into the class with a blog already up and running. Over at Just Be Lovely, Alycia talks about the things that happen in her world and offers to bring you along on her journey. You’ll find thoughtful, heart-breaking, and delightful posts on many different topics.

(8) Marshall, our one lone male in the class, is a gamer and a writer of speculative fiction with a “slight lean toward the darker things” as it says on his Twitter profile. This is a totally foreign world to me, but Marshall has given me new appreciation for the story aspect of gaming. Find out more at Stories from Dice.

I’m always amazed at how creative my students are. This talented group of men and women will soon be unleashed upon the world.

Look out.

 

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I love to haunt old bookstores. Even at Goodwill or the local resale shop, you’ll always find me, head turned sideways, scanning the titles of those used and lonely books.

cat

When scanning bookshelves, I look sort of like this.

There’s just something about used books. Our shelves at home are groaning under the weight of books because, when my husband and I want to go “shopping,” we both know that we’re heading to a place where we can look for books.

We bring them home, often wondering why we thought we needed more and, more importantly, where we’re going to put them. But that’s just a minor issue for us book lovers. We always find a way.

This past summer I came across this wonderful little textbook that I must share with you. It’s titled Language Etiquette, copyright 1949. From what I can tell, it’s an elementary school grammar text.

Here’s the cover. First, I have to say that I just love this snotty girl being rude to the friendly red-haired guy, tipping his hat at her. What is that about?

eti-3

Umm, I guess the guy used bad grammar?

Then, as I work my way through the book, I’m treated to rules of grammar and usage laid out in numbered lists, quizzes, and several poems to, you know, drive home the point. Like this gem titled “Etiquette”

You wouldn’t tolerate “B.O.”;
You dread the stigma that it lends;
But one thing you seem not to know;
That sloppy, careless speech offends.
You preen yourself to make a show;
You’re most meticulous in dress;
Though outwardly you’re all aglow,
Your slouchy words make you a mess.

You check your etiquette each day;
You guard with care your ev’ry act;
You’re sure your manners rate okay;
You pride yourself that you have tact.
But keep in mind there’s danger yet
Your fine impression to impeach,
For there’s no law of etiquette
That sanctions careless, sloppy speech.

eti-1

I have no idea why the drawing here features golfers.

Or this one, titled “Super ‘Guy'” (I really don’t know why “guy” is in quotation marks):

You know that you’re a super “guy”–
Your mom has often told you so;
In looks and brains you rate so high
No triumph that you may not know.
Though you’re so sure you’re “on the beam”
To high performance that you’d reach,
He seen and knowed may spoil a dream–
There’s sabotage in vulgar speech.

Though you possess a super mind
And strut in fashion ev’ry day,
If speech you use is unrefined,
You’re still considered just a “jay.”
Of highest triumph you’ve no doubt;
You’re sure you look like Robert Young;
But you’ll be rated super lout
While you’ve a careless, sloppy tongue.

eti-2

So, the guy in the suit speaks better than the guy in the wagon with the donkeys pulling it . . . apparently?

Well, if that doesn’t convince you not to be a lout, I don’t know what will!

But I have to say one good thing about this little book. Several pages have lists with guidelines for having good manners in conversation. So this was more than just a textbook about grammar and grammar usage, it was also offering to those elementary-aged minds advice on being decent human beings when it comes to speaking and having conversations.

Some of the points are a bit dated (i.e. “A lady keeps her voice low and quiet”), yet overall, I find a few pieces of etiquette advice that we ought to take to heart. Today, some of my students were sharing in class about various other social media sites that writers might want to use as they build their platforms. We were warned about a couple of them because of “frequent vulgarity” or just plain “meanness” by users.

What is wrong with our world? What happened to decency, niceness, etiquette? So for our edification (and maybe a few politicians might take heart, along with the “mean” folks on social media), I offer a few chosen language etiquette rules circa 1949 yet so needed today:

  1. You are judged by your conversational manners.
  2. He who talks most loudly is not necessarily he who talks best.
  3. No gentleman enjoys talking smut with a girl. (Is this not priceless?)
  4. Your conversation shows what you are–regardless of exterior signs.
  5. Don’t be an overwise, know-all.
  6. Always congratulate your successful rival.
  7. Malicious gossip appeals only to little minds.
  8. It is difficult to be a good listener, but it pays to try.
  9. It is much better to be silent than to say too much.
  10. Use tact and common sense–lest you hurt someone.
  11. Don’t interrupt or contradict without a very good reason.
  12. Try to say that which gives pleasure–don’t cause pain to others.

A little etiquette might go a long way. And I think today, in our social media world where we can say whatever we want either anonymously or without having to deal with a person face to face, we have become far too “vulgar” and “mean.”

I may think the poetry is hilarious, but many things in this little book are on the mark.

If you could create language etiquette rules for today, what might you include?

 

Cat image courtesy of: https://goo.gl/images/TvMfdR

My Own EdBoWriMo

I don’t know how you novel writers do it. First, I am always astounded by fiction writers–people who can weave a tale, build a plot and sustain it, create believable and likable characters, keep the suspense going, and then end with a conclusion that satisfies.

Seriously. I admire you more than you know.

So as the month of November approaches, and with it NaNoWriMo (National Novel Writing Month), I can hear weeping and gnashing of teeth from my Professional Writing students who are trying to decide if they can take on the beast that is NaNoWriMo.

If you don’t know, NaNoWriMo is when novel writers everywhere commit to writing 50,000 words of a novel during the month of November. To translate, there are about 250 words on a standard double-spaced typed page. So 50K words = 200 pages, divided by 30 days = roughly 6 or 7 pages a day. That’s a day. Anyone who is a writer will tell you how difficult it is to sustain that kind of momentum for very long. Not impossible, but tough. Especially when you have, you know, like, a life. Like classes to take and homework to do and food to eat and sleep to enjoy.

My student Chrysa discusses her past experience with NaNo in her blog post this week. And Jessie is trying to decide if the commitment is worth it:

If nothing else, the commitment of NaNo helps writers see what is possible. Whether they get to that magic 50K number or not, they have discovered that setting a goal and working steadily toward it have their own rewards. Basically you just do it and see if, well, if you can do it. There are no prizes, no awards dinners. Doing the task is reward unto itself.

Only writers understand that.

Which brings me to EdBoWriMo.

I don’t write novels. Never have. Never will. I am content to be astounded by my fellow writers who do. However, as I shared last week, I’m under contract to write a book about editing. So I decided to join my novel writing friends in making a commitment to myself to make this “Editing Book Writing Month.”

And since I know my abilities, I’m not shooting for 50K words; instead, I think I’m going for a more modest 22,500 words, which works out to 750 words (or about three pages) per day.

you-canSo what about you, my fellow writers? Do you have something you need to work on, but NaNoWriMo doesn’t quite fit? Then create your own! Let’s join with our fellow novel-writing friends and commit ourselves to a certain number of words per day (or per week if that’s better). Create your own acronym. Create your calendar.

And on November 1, let’s commit to seeing how far we can finally get on that project.

So tell me, what could you work on this November? What languishing project could you breathe new life into? What project could benefit from your sustained attention during the month of November? Tell me about it in the comments below.

So here’s some exciting news!

This past summer at the Write-to-Publish Conference, I pitched a book to a publishing company called Bold Vision Books. For several years I’ve wanted to write a book about editing–a book that combines much of my work for the past three decades along with the research I’ve been doing about the great editors (some of which I’ve been sharing here on my blog) and turning it into a book I can use in my future editing classes at Taylor University.

And I hope it’s a book many writers and aspiring editors will want to read.

students

Students in my editing class warming my heart as they studiously do their worksheets on how to work with Chicago Manual of Style.

And the publisher accepted it! So now, in addition to writing my thesis (about editing), I’m also writing a book (about editing).

Needless to say, this is exciting and exhausting. There are several great books about editing already out there (as I discussed in this post), so I feel both humbled and honored as I take on this task.

The publisher has asked that my book help writers with self-editing, so my audience is writers who are trying to make their manuscripts the best they can be before sending them off to agents or acquisitions editors or before self-publishing on Kindle or CreateSpace.

If you’re interested, here’s what it looks like so far:

Introduction—Take This Quiz! A Bird’s Eye View of the Publishing World
This is a publishing quiz that pulls from numbers in the publishing world (number of books published in a year, number of returns, general number of each title sold, etc.). Multiple choice.

Chapter 1—Let’s Start at the Very Beginning
Takes you through all of the steps in the publishing process—from manuscript idea to bound book. Helps the reader understand how many people touch the book, how many decisions must be made along the way.

Chapter 2—A Passion for Words
What editing is all about, what makes a good editor, why everyone needs to self-edit and have others edit their work. I explore the stories of two great editors—Tay Hohoff and Maxwell Perkins—and their work with Harper Lee and F. Scott Fitzgerald respectively.

Chapter 3—First Impressions
The supreme importance of a manuscript’s first pages. Explanation of how agents and acquisitions editors only have a few moments at a conference or busy schedules at their offices and if the writer doesn’t grab them in the first few pages, they won’t read any further. How can you edit those first pages to make them intriguing?

Chapter 4—Content Editing (The 10,000-foot View)
This chapter focuses on what content (or developmental) editing is and how it takes a different mind-set from both writing and copyediting. It explores ways to content edit yourself and others, and the questions to ask as you’re editing (separating fiction and nonfiction).

Chapter 5—Copyediting (The 1,000-foot View)
This chapter has several functions just as a copy editor also has several jobs in addition to just reading the manuscript. I will help those who are putting together their manuscripts to understand how to build the front matter and back matter for their books (such as what they should go ahead and put on their copyright page and TOC), how to use templates and create style tags (which will make the editor at the publishing house want to kiss them)—in short, how to deliver a clean and consistent manuscript.

From there, we’ll cover some basic grammar and punctuation rules and guidelines—keying in on the errors I tend to see all the time (hello! No double spacing between sentences!) and how to fix them. I will advise on some of the Microsoft Word tools that will be most useful (not everything in all detail, but the key tools).

We’ll also learn about the bible—The Chicago Manual of Style—along with style guides and style sheets. They will have exercises to do to try to find various items in CMS and with a style sheet from a fake publisher. I will include some exercises for them to practice grammar and punctuation, along with some very funny dangling modifiers to fix (“We saw a dead deer driving down the road.”).

Chapter 6—Proofreading (The 10-foot View)
We talk about proofreading in a couple of ways. First, we can proofread a manuscript on hard copy—and this is where we’ll learn about proofreader marks. I will show the readers what these are and provide some practice pages to work with proofreader marks.

Second, we’ll talk about proofreading on pdfs of typeset pages and how to use the markup tools in Adobe. In this phase, there’s more than just proofreading the text; proofreaders have to check the layout of pages, page numbers for the TOC, placement of elements on pages, etc. I will provide a checklist of items to look for in this proofreading phase along with a practice page.

Chapter 7—Working with Bible Text
Even though this is not necessarily a Christian publishing book, that has been the major part of my experience so I will include advice on working with Bible text. This will also include practice exercises. As much as we Christians love and use the Bible, it’s amazing how authors so often are not careful when they quote from it or refer to its stories in their writing. In this chapter, I give some personal experiences with thirty years of Bible publishing and several tips on working with the Bible text.

Chapter 8—If You Want to Try to Self-Publish . . .
We’ll talk about the world of vanity publishing—pros, cons, and things to look out for. For example, if they decide to build a book for Kindle or use CreateSpace, what do they need to know, and how they should format and price their books. However, I would always advice all of those editorial steps above.

Chapter 9—Child’s Play: The Special World of Children’s Editing
Editing children’s books is a very different skill. In this chapter, I discuss the kind of mind-set needed to edit children’s books, with a discussion of Ursula Nordstrom, editor of such books as Charlotte’s Web, Stuart Little, Where the Wild Things Are, and Harriet the Spy. I also will interview some children’s editors for further insights into this special world.

Chapter 10—If You Want to Try an Editing Career . . .
Here I talk about how to prepare for an editing career, how to build a portfolio of work and where to find that work, how to practice, what to charge if you freelance.

Thoughts? Am I missing anything? You writers out there, what would you want to read in a book about self-editing? Let me know in the comments below! And thanks in advance for your help.

Addicted to Reading

I hyperventilate when I go into used bookstores. For thirty years my husband has dragged me to antique stores and the only saving grace to these excursions (where eventually every antique begins to look the same) is that sometimes the booths will have books. I zero in on these, turning my head sideways to read along the spines. I don’t feel the same way in my local Books-a-Million, although if I have to go shopping that’s where I want to go.

There’s just something about the smell of used bookstores and the possibility of treasures to be found. If I’m going to by one of the classics or a book on my list, I don’t want one of those repackaged recent releases or (God forbid) the ones that put on the cover not the person but the movie star playing that person (seriously, a book about Julia Child with Meryl Streep on the cover?). And I’m not all worried about getting first editions or signed copies. Instead, I just want to pick it up and know that I’m giving it new life. It was written (by hand, in the case of those classics), edited, typeset (when typesetting was really setting type), printed bound, and sent out into the world. Someone bought it and put it on a shelf. Sometimes that person’s name will appear handwritten inside the cover. Chances are, that person read it. I love it when evidence of that shows up with underlines or marginal comments.

I love the feel of those books. I will often buy it if it feels right in my hands. I look forward to reading it just so I can hold it and turn the pages. The last time the book felt that was when that person decades ago did the same as I am doing now. It’s a kinship. We read the same words, get engrossed in the same story, get pulled away into the world that writer created.

What is it that pulls us into books? Why do we read, anyway? In her book, Ruined by ruined by readingReading: A Life in Books, Lynne Sharon Schwartz muses about why we are willing to spend hours of our lives with tales others have spun.

I have read for so many years but, like Schwartz, I wonder at why it is I cannot recall so much of what I’ve read. Thus I’m glad to know that others have been in the same boat. Schwartz writes, “I don’t remember much of what I’ve read. My lifelong capacity for forgetting distresses me. I glance at a book on the shelf that I once read with avid interest . . . and while I struggle for the details, all I recall is the excitement of the reading. . . . What do I have, then, after years of indulgence? A feel, a texture, an aura.”

Precisely for this reason of forgetting what I’ve read (and the accompanying distress), a few years ago I gathered up some of those lists of “must read” classic books. I began to work my way through it, hoping to recapture the wonder. As I began pursuing an advanced degree in English, I realized that I had to be able to actually discuss the classic works, not just pretend that I had read them or, even if I had, pretend that I remembered them. So the past few years I dove into Moby Dick and This Side of Paradise and The Old Man and the Sea and Portrait of a Lady among many others of the great classics. Some I enjoyed. Some I wanted to pull my eyes out (hello, Moby Dick. I’m sorry. I probably need to turn in my credentials to speak such blasphemy). But I felt accomplished reading them and saying I’ve read them and being able to, while perhaps not remembering all the details (a problem I wish I could overcome, but maybe no one remembers every detail), at least remember the basic story.

And that makes me feel something.

What is that feeling? And why do I feel it? When I finish a classic work, I join a club—a club of readers across months or years or decades or centuries who also have gently opened the cover, absorbed the words, turned the pages, finished and imbibed the story. No matter what I do, it’s there forever. Of course, not all the details (as I’ve already established) but the story. I am forever changed, I have a new view on the world, I learned something.

That tends to be my “divining rod” (as Schwartz calls it) helping me work my way through the morass of books stacked in teetering piles in used bookstores. I go straight to the reference section to find books about writing that I can use in my teaching. Then I’m over in the classics, then memoir, then the books of essays. I have never been a reader of romance or popular fiction. (On a visit, I once picked up a copy of a Danielle Steele at my mother-in-law’s house. By the fourth page I was so appalled by the terrible writing I laughed out loud.)

When I read, I want to learn something. And if a book isn’t pulling me along with its lyrical writing or keeping me turning pages or giving me info that helps me see the world in a new way, then I’m not interested and am not above putting it back on the shelf unfinished.

Life is too short to read a bad book.

But I feel like I came late to the reading game. I wasn’t precocious. In fact, I remember being mortified that many of my fellow fifth graders were reading from the advanced areas of the reading box when I was down in the “average.” I stunk at math and hated science, but reading? I loved reading. I felt like I should have tested right into those higher levels. It didn’t make sense.

I didn’t go to grad school until I was in my fifties and felt the sting of both not having read the classics and not being “up” on even recent authors. So I made my list of the must-reads and began to work my way through it.

Now I read voraciously, as if trying to make up for lost time. Which I am. But, again, why? It gets back to that feeling of knowing¸ of learning. Is my life better for understanding the whaling culture explained to me (ad nauseum) in Moby Dick? Actually, yes, I think so. Do I have a better understanding of writing from studying The Old Man and the Sea and The Great Gatsby? I do indeed. Is my writing life inspired by the writing of Flannery O’Connor and  Ernest Hemingway and Anton Chekov? Yes.

In short, I read because it inspires me. Sometimes it is the grace of the writing. Sometimes it is the very encouragement I get to live better and be better and write better.

So tell me, what is it about reading that enthralls you?

All of our majors in the Professional Writing department at Taylor University are required to do 160 hours of practicum experience. They do a variety of things, often based on a secondary interest–as long as they’re doing writing. One of my greatest privileges is to help them secure these practicums (sometimes they find their own; sometimes I mine my contacts to help them), to read their journal entries sent to me during the course of the practicum, and then to read their final reflection papers. If it’s possible, I try to visit them on site and talk to their supervisors.

Here are a few excerpts from this past spring and summer from a few of my students as they reflected on what they learned during the course of getting real-world experience. This young lady worked at a mission organization:

 In general, as I’ve been thinking about my internship experience so far, I think it’s been a pretty good fit. It’s allowed me to apply my skills as a writer and editor and refine them. I’ve been able to practice writing with an organization’s tone, and learning how to be creative within the confines of that tone. It’s given me opportunities to practice my interviewing skills, which I’m most excited about and have enjoyed best, I think. . . . I think will prove to be a good primer as I seek a job with a magazine or house within the next five years.

This person worked with a magazine:internship

I got to edit another article this week. One interesting thing that I learned when editing this is a little bit about the relationship between the writer and the editor. When I was sent this article to edit, [the publisher] told me that this writer was a really good writer, but she always turned her articles in late, too long, and with lots of mistakes. He said that he always spends the most time editing this author’s articles. I thought it was interesting, though, that he still really likes working with this author because she provides good content. So for this article I got some experience correcting many mistakes for formatting, grammar, and AP style. I also had to cut about 600 words. And since it was a scientific article, I had to make it easy enough for the common person to understand. It was a really fun challenge.

This young lady worked remotely for a publisher, reviewing, editing, and copyediting manuscripts:

Before starting this internship, copyediting was the only form of editing I felt really good at. However, in the past 10 weeks I’ve discovered I’m capable of evaluating, rewriting, proofreading, and more. My future editing career is by no means limited to just copyediting. Admittedly, after several weeks of doing everything but copyediting, it was great to go back to it. Copyediting is definitely the area I’m the most skilled at, as well as the area I most enjoy, which I’ve found is equally important.

On the last day of my internship, I sent my supervisor an email asking for advice about finding a job in publishing, skills I could improve on, etc. [She said], “Honestly, I think you have great editorial instincts. You’ve been well trained and you’re just a natural editor. One thing you could do is broaden your reading. Southern fiction, for example. I noticed there were  regional or generational things you didn’t know, which is normal because you’re young. You will learn about these things, but reading different types of literature and popular fiction will acquaint you with the ways that people from different regions, and countries, think and talk. But that’s about the only thing I can think of. I told Linda that you are among my two best interns ever. I hired the other one. I’m pretty sure you’ll get a job.”

And this young man worked at a local company doing more technical writing:

I spent my first full week at [company] reading and editing [their] training materials. The pace and dual nature of this work was a great fit for me, allowing me to work and learn simultaneously, and gather information for what would become the [company’s] Style. I became familiar with the software, terms, and procedures surrounding this product and made note of no fewer than 100 changes—from typos to phrasing—to the training material to make the brand more professional and consistent. . . .

Even though my title is Technical Writing Intern, I have actually done more editing than writing, which has honed my attention to detail. Through the different types of work I have completed so far, I have realized that I enjoy several aspects of editing fundamentally. Of the things editing requires of me, internalization and careful reading are two things I enjoy more than anything else.

I love it when my students get to hone the skills I’ve taught them and begin to find their callings!

She went shopping with Amy Tan and Amy’s mother in Manhattan. She loved bargains, just as Amy does. When it came to finding the cheap deal, she and Amy were joined at the hip.

Her name was Faith Sale and she was Amy’s editor—the one who first saw the potential in a young business writer who began to write novels as a creative release from the doldrums of writing for corporate executives. Sale said in an interview that finding the novel about Chinese mothers and American-raised Chinese daughters was “the biggest thrill an editor can have.” Before she passed away in 1999, Sale had an editing career that spanned four decades, working with, in addition to Amy Tan, authors such as Donald Barthelme, Kurt Vonnegut, Alice Hoffman, and Joseph Heller.

In her autobiography, The Opposite of FateAmy described her relationship with Faith this way:

Whenever I gave Faith something to read, she’d ask me what I wanted from her as an editor. “Keep me from embarrassing myself in public,” was my usual answer. And she did keep me from exposing the glitches in my prose, but she also prodded me to go deeper, to be more generous in the story I had to tell, to not hold back, to show what was most important in my life and on the page. She had an unerring sense of what mattered—to me. She could help me find it, though there were many ways in which we differed in taste and opinions. (63)

Amy Tan’s first novel, The Joy Luck Club, published in 1989, hit The New York Times bestseller list and remained there for several months, winning both the National Book Award and the L.A. Times Book Award.

joy luckI appreciate that Sale paid her dues—working her way up through the levels of editing as she moved to various publishing companies. Beginning as a secretary at Knopf, she moved on to Lippincott in 1959 where she was an editorial assistant, then moved up to assistant editor. In 1963, she moved over to Macmillan as associate editor. After living out of the country briefly, she did freelance work upon her return—working for publishing companies, literary agents, and authors. In 1977, she was named senior editor at E. P. Dutton, and then joined Putnam where she was vice president and senior executive editor.

In an essay she wrote for Editors on EditingSale emoted about her love of being an editor. She saw good writing as “the highest form of art” (268), and she knew that she wasn’t someone who could accomplish it. Like Maxwell Perkins, she had no visions of being a writer; she was an editor through and through. She saw herself in service of the art by helping the writers.

What I try to be for an author is the smartest, most sympathetic reader of the manuscript. . . . This means I must earn the author’s trust, make the author feel comfortable with me and my perceptions. . . .

When I’m hooked, I’m unshakably committed for the long haul, regardless of obstacles. But I can’t fake it: my devotion to fiction is born more out of instinct than intellect, based more on emotional response than calculated judgment. The moment of connection is the moment I become a book’s (or an author’s) advocate—its nurturer, defender, supporter, mouthpiece, bodyguard. . . .

Having made the decision to take a book on, I must figure out how to convey to the author what I think could or should be done to make the book the best it can be. It never is—because I think it never should be—making the book into anything other than what the author has envisioned. In my role of the author’s best reader . . . what I mean to do is help the author to realize the author’s intention. (269)

She saw the editorial process as organic, working back and forth with the author, with both trying to take the raw manuscript, deepen and enrich what exists, sharpening the book and the plot arc and the characters. Then she shepherded the manuscript through copyediting, answering questions the copy editor may have that she knew she could answer on behalf of the author, discussing with the author if she didn’t. She wanted to “make sure that nothing is being done to harm the work in any way. I also look over the proofreader’s markings to ensure that the author’s style has not fallen victim to a by-the-book grammarian. And I follow along through the further stages of production so that neither the author nor I will discover any surprises in the printed book” (271-72).

A good editor doesn’t stop when the book gets sent to copyediting and then to proofreading. There has been so much communication with the author that the editor knows the book through and through. Authors may want particular things that go against the rules of grammar—and a copyeditor may make changes that the author would not want. The editor will know this . . . and keep it from happening.

Great editors know that the book belongs to the author, and they fight for it every step of the way. Faith Sale understood that. In The Opposite of Fate, Amy adds this:

[Sale] was . . . wrong in one thing about me as a writer. She believed for some reason that writing came easily to me, that words poured onto the page with the ease of turning on a faucet, and that her role was mostly to help me adjust the outpouring toward the right balance. That belief had so much to do with her confidence in me. And I guess that is the role of both an editor and a friend—to have that confidence in another person, that the person’s best is natural and always possible, forthcoming after an occasional kick in the butt. (64)

Confidence and a kick in the butt. And bargain shopping. Sounds like a perfect match.

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