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The Artful Edit: On the Practice of Editing Yourself
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About the Author
Susan Bell has edited fiction and nonfiction professionally, including at Random House and Conjunctions magazine, for almost twenty years. She lives in New York City and teaches at The New School and Tin House Writers Workshop.
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Product details
Paperback: 240 pages
Publisher: W. W. Norton & Company; Reprint edition (August 17, 2008)
Language: English
ISBN-10: 0393332179
ISBN-13: 978-0393332179
Product Dimensions:
5.5 x 0.7 x 8 inches
Shipping Weight: 6.4 ounces (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
42 customer reviews
Amazon Best Sellers Rank:
#273,891 in Books (See Top 100 in Books)
Susan Bell uses examples from well-known literary works to illustrate the value of editing. This worked well for me. I particularly enjoyed the Great Gatsby examples where she used excerpts from earlier drafts of Fitzgerald's book and contrasts them to the final result. The revelations produced were fascinating and enticing. By revealing the nuances of editing from an editor's perspective, a writer begins to understand the process and the purpose of revision and polish. Bell's focus, though, is on the craft of self-editing. She convinces the reader of the power of that. Many authors see writing as a creative experience. They revel in that and leave the editing to someone else, but delivering a mess to an editor means he will be overwhelmed, possibly choked, and the author will be shocked to see his creation so justifiably desecrated. Bell helps the reader see that the craft of editing is a vital and intrinsic part of the process of writing and a key to a polished, readable, enjoyable piece of literature. It is also a key to a writer's reputation as a master of his profession. I've read a multitude of books on writing and this is one of my favorites.
Susan Bell teaches writers what editors do, hoping this will reduce frustration for both. She hopes that "[t]his book will not eliminate the need for an outside editor, but it will minimize it. When writers learn how to better edit themselves, editors will not be out of jobs; rather they will be working with texts at a more advanced stage, and their work will be less an act of excavation than one of refinement."The book's first chapter teaches writers eleven strategies for gaining perspective on what they have written--and grown overly close to. These strategies range from abstract perspective shifting to physical techniques, such as hanging the pages of a chapter on a clothesline to observe the pattern of text across the pages. The second chapter tells authors how to evaluate their writing at the "macro" level, focusing on organization, structure and the sequence and flow of ideas. The third chapter dives to the micro level, helping writers with subtle language choices in sentence-by-sentence writing. We learn to evaluate writing for its repetition, redundancy, clarity, authenticity, continuity, and other well-chosen principles. Bell's fourth chapter presents several extended case studies of writers and their editors working together. The fifth and final chapter traces the development of editing as a profession, from changes medieval scribes introduced as they copied ancient texts to the uneasy, commercially-constrained partnership between modern writers and their time-starved editors.Foremost among the book's strengths are the frequent before-and-after editing examples and the interviews with writers and editors. Numerous excerpts from F. Scott Fitzgerald's The Great Gatsby and Adam Thorpe's Ulverton reveal the working relationships between these authors and their editors. Interviews placed between chapters convey the essence of artistic evaluation and constructive criticism. The interviews with artists and filmmakers teach us much about editing strategies that apply across creative media. Concrete thinkers who equate editing with proofreading and expect lists of commonly misspelled words will be disappointed. The successful reader must understand and apply Susan Bell's lessons at a more abstract level.Susan Bell has much to say about the ongoing struggle between writers and editors for ownership and control. She advises assertiveness and restraint to both. Writers should look courageously at their work, cutting away the excess verbiage that smothers their very best ideas and language--and should defend these hard-won nuggets. Editors must challenge writers to see what does not work, then empower them to rework without undue editorial micromanaging. "The function of an editor is to be a reader," claims Gardner Botsford, as he introduces the last chapter. Susan Bell insists that "...an editor doesn't just read, he reads well, and reading well is a creative, powerful act." Her book attempts to place an editorial presence in the mind of each writer.This book is highly recommended to writers who want to improve their work and their work process. It is beneficial to writers of both fiction and nonfiction.
I expected something else so it's not the author's fault and I won't penalize her with a bad review. I'm not interested in the nuts and bolts of editing. I'm more interested in the craft of writing. You know; character, plot, setting, high stakes, high concept. This is about correcting others' usage. Not my cup of tea.
I have finished writing a novel (if one can ever be called finished) and am in the process of editing the attempt. I have read several (maybe 8) books on editing and while they were informative, instructive, and mostly correct, they failed to deliver the underlying, the core, of serious editing. This publication takes it to the same level, but in a different direction; an essential direction that should be instinctive but unfortunately is not to many writers. This book holds your hand and delivers the guts that go beyond usage and the proprietary. If you are a serious writer and hope to achieve what it's all about, buy this book. Personally, if I don't succeed as a writer, it certainly won't be this book's fault.
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