Earlier this week my esteemed colleague Barbara Pulling forwarded me an article by Jeff Norton—“Follow the editor: a recommendation engine for readers”—which suggests that editors should be credited for their work on books just as producers are in music and film. He writes:
Pick up any paperback and the author’s name dominates the cover. Big authors are “brands” unto themselves, even though the final prose was a collaborative effort. Flip the book over the cover designer and illustrator get credit (in quite small print) but search for the editor’s name and you’ll be lucky to find it in the acknowledgements (at the author’s discretion). How are we to value the role of the professional editorial process if publishers themselves don’t even celebrate their most crucial contribution to a book’s creation?
I suppose I’m spoiled in that I’ve done the majority of my work for a company that does choose to acknowledge editors, though not to the extent that Norton would perhaps like to see. In fact, in Saeko Usukawa’s acceptance speech when she won the 2007 Tom Fairley Award for Editorial Excellence, she specifically thanked Douglas & McIntyre for being one of the few publishers to credit editors on the copyright page. It’s interesting that the practice isn’t more widespread, since giving an editor credit is one of the easiest ways to establish a strong publisher-editor relationship. Not only is the acknowledgement in itself extremely meaningful, but the credit allows an editor to confidently promote the work as part of his or her portfolio. It seems as though sometimes the publishing industry doesn’t want to admit that books get edited at all, perpetuating the myth that prose flows from the author’s brilliant mind onto the manuscript already perfect.
Norton’s assertion that editors are akin to music and movie producers, however, may be too narrow a focus, since only acquiring and developmental editors typically get the same level of creative control as producers would. When a substantive editor is assigned a finished manuscript, the process is often less about building and more about shaping with what’s there. Crediting only producer-like editing would also sell short the vast contributions of the copy editor and all other members of the publishing team that make a book happen.
Norton also talks about “the growing sentiment that in this era of digital books in general, and the rise of self-publishing specifically, that conventional publishers were no longer relevant or required.” He adds, “I believe the most important role that publishers perform is the one they are strangely reluctant to celebrate: the editor and the process of editing an author’s manuscript into a readable book.”
Traditional publishers may have reason to bemoan the rise of the ebook and self-publishing, but editors hardly do. At last year’s Vancouver launch of I Feel Great about My Hands, I had the opportunity to speak with David Mitchell, who I believe was quoting one of his friends at the Globe and Mail when he said that these days, “Anyone can be his own publisher, but very few people can be their own editor.” I know some successful freelancers who now deal almost exclusively with self-published authors. Although I’d be the first to acknowledge that there is a lot of rubbish out there, more and more self-publishing authors are beginning to see the value in having an editor’s expert eye pore over their text—and they’re willing to compensate that editor accordingly.
The thrust of Norton’s article, though, is that he feels books should be catalogued not only by author but also by editor, which “would give readers another recommendation engine, another way to discover new fiction: follow the editor.”
As a nonfiction editor—and as an editor who never acquired projects—I have no coherent theme in my list of work, and such a recommendation engine based on my projects wouldn’t be particularly enlightening. One aspect of my job that I love is that I can be a generalist, learning a little bit of something about everything. (Editors with a more specialized focus may yield more useful results to the general reader.) Still, I’d appreciate the built-in portfolio aspect to such searchability—it would certainly make it easier to show prospective clients and employers what I’m capable of.
2 thoughts on “Follow the editor”
> I suppose I’m spoiled in that I’ve done the majority of my work for a company that does choose to acknowledge authors …
I think that should be “acknowledge editors,” n’est-ce pas?
In any case, another very thoughtful post. I do find it odd when there’s no acknowledgement of an editor anywhere in a book (and insulting, when I or someone I know is the editor!). But I also don’t feel gung-ho about the idea of requiring an editor credit. Not sure why — shrinking violet editor syndrome? Maybe …
Blargh! Fixed. Thanks, Snow Queen.
Yes—I do find that imposter syndrome is endemic among editors. And I do know of editors who have been offered credit but have explicitly chosen to take their names off of particular projects because they didn’t feel that the end product reflected their abilities.