An Interview with Lisa Rector

by

Anne Gracie
Lisa Rector is an award-winning writer and independent editor in New York. At 17, she became the youngest writer at BC Woman magazine in Vancouver, Canada. Lisa has since worked as a journalist, publicist, agent and editor. She has served on the Surrey International Writers' Conference committee and teaches fiction workshops worldwide.
 
Through her company Editing Express Lisa helps authors develop their work through all stages of revision. In addition to story development she offers in-depth manuscript evaluation, line edits, query and synopsis development and ghostwriting services. She works mostly with authors of mystery, suspense, mainstream and literary fiction.
 
"It's exciting to see a book take shape, to become what you envision it could be in the early drafts."
 
Lisa, you're an "independent book editor" -- what is the difference between that and a book doctor?
 
Essentially they are the same thing, just with a different title.
 
What is a book doctor or independent editor?
 
An independent editor is hired by an author to improve an existing manuscript. The focus is on building a stronger version of the story and strengthening weak areas such as underutilized characters, low tension or lack of conflict. Independent editors work directly for the author. They are not employed by agents or publishing houses.
 
What is the role of an independent editor in today's publishing industry?
 
Independent editors work directly with authors to develop and polish their manuscript before submitting it to an agent or, occasionally, at the request of agent regarding a manuscript that is 90% of the way there.
 
When and why might an author choose to work with an independent editor?
 
Authors elect to work with independent editors for a variety of reasons - story development, line editing or an evaluation of their writing skills and the book's marketing potential. Twenty years ago it was much easier to get published. Today consumer trends, publishing mergers, increased workloads for agents and editors and savvy consumers demand high-caliber authors capable of writing engaging, high-stakes fiction, book after book. Authors must work harder than ever to stay afloat in today's publishing world.
 
Could you explain how you work?
 
It's a collaboration process, really. I work directly with the author to develop and polish their manuscript before submitting it to an agent or, occasionally, at the request of agent regarding a manuscript that is 90% of the way there. One-on-one guidance is provided to the author through all stages of revision and detailed critiques are provided along with page by page manuscript notations or evaluations. Clients receive regular updates and remain involved from start to finish, so there is no lapse time. As a result, they are often able to start revising sections of the manuscript while others are still being editied.
 
What sort of writers do you work with - beginners, experienced, published? How does the work with each "type" differ?
 
I work with authors at various points in their career - published or unpublished. Some writers find editing services most beneficial when the novel is basically finished but the author suspects there is more work to do. This last step can make a huge difference in delivering a polished, high-stakes fiction manuscript to an agent. I also work with a lot of authors in the development stages to expand their premise, add conflict and tension, create structure, deepen theme and build character arc, etc. It's a matter of sourcing out the strengths and weaknesses of each individual author, their goals and technique. Ultimately, the process is very similar, although developing a manuscript can take longer with newer writers because they often haven't established a clear sense of voice or direction. My goal is to help authors reach their potential and strengthen an existing vision of their manuscript.
 
Do you do much work with romance manuscripts?
 
I work with writers in various genres at different stages of their careers. Predominantly mystery, suspense, mainstream, literary and women's fiction. I also work with romance writers who are looking to transcend "genre" or "category" novels and break into more commercial markets. Most romance stories contain basic underlying tension or elements, such as mystery or high-stakes storylines, that can be used to develop larger premises.
 
What are some of the common problems you see in manuscripts sent to you?
 
Most problems have to do with structure, lack of conflict, low stakes or underutilized characters, theme or premise. Hence predictable plot lines and sagging middles. Also, new writers tend to get bogged down in description, back-story and setting up a scene rather than actively moving things forward. There is also a tendency to think the manuscript is complete when, in truth, the story has really just begun.
 
What are the most important qualities you look for in a manuscript?
 
Premise, conflict and voice. A good idea is the most exciting thing to work with because you can see the potential for where the story could go and once you establish a conflict that can be layered throughout the story in different ways (eg: emotionally as well as physically, in sub-plots or storylines belonging to minor characters that paralell the main charcter's crises), the stakes are inherently raised. Voice is an equally important element to powerful storytelling.
 
What advice would you give unpublished writers?
 
Most writers submit too soon. Take the extra time to polish your manuscript, get feedback and inform yourself about today's fiction marketplace.
 
Do you work with writers manuscript by manuscript, or do you have a longer-term relationship with some writers?
 
While we certainly have worked with writers on a per manuscript basis at Editing Express, we believe in building long-term relationships with clients throughout all stages of drafting and revising a manuscript.
 
Are all independent editors the same?
 
No. Some provide complete manuscript editing services, while others specialize only in particular areas. Find the one best suited to your individual needs and goals as a writer. A good editor will help bring out the best in you as a writer. They may also assist with story development, structural problems, reader impact and marketing potential. The final product, however, should reflect the author's personal vision.
 
If you think a book is worthy of publication after making the changes, do you sometimes refer the writer to a publishing house or agent?
 
Occasionally, but it's important for writers to understand that these are two distinct services. Working with an independent editor does not guarantee publication or agent representation. Independent editors work for the author. They are not employed by agents or publishing houses. Ideally, the relationship should result in the author having a much more polished and dynamic manuscript to pitch to agents and publishers.
 
Would you advise where to submit your manuscript?
 
Often, yes, but it is the author's responsibility and decision to follow through.
 
How does the role of an independent editor differ from that of an acquisitions editor at a publishing house?
 
Editors at many top publishing houses have experienced increased workloads, resulting in less attention for individual authors. Independent editors often fill that void. They work on behalf of authors to polish or grow their stories. They are not employed by publishing houses.
 
Are you a "final resort" editor, or do people usually request your services fairly early in the process.
 
Both. Independent editors provide a range of services from story development and line edits to query, synopsis and manuscript evaluation, rewriting and ghostwriting services. I tend to look at a few pages beforehand and advise clients of the best options available to them at that time. For example, I don't believe in line editing early drafts (unless, of course, the author's greatest weakness is grammar, sentence structure, etc). Stories tend to grow and change in developmental stages and it's both costly and pointless to pay for this service twice. It should be the last thing one considers before submitting a manuscript.
 
How long does the process usually take?
 
Depending on my current backlog, usually 3-4 weeks for an in-depth edit and critique of a 300 or so page manuscript.
 
Do you provide an estimate of costs before taking on a new client?
 
Absolutely. Reputable editors do not charge reading fees and estimated time lines, fees and services should be provided free of charge before the editing process begins and put in writing. Authors should pay only for work performed on their manuscript.
 
What are my rights in working with an editor?
 
It is an author's right to ask questions about the services they receive. Before engaging an editor, know exactly what services you'll receive and how you will be charged for those services. It is permissible to ask for a sample of the editor's work or references from previous clients. Estimated time lines, fees and services should be discussed free of charge before the editing process begins and put in writing. Reputable editors do not charge retainer fees or pay or receive money for
referrals from other editors, clients, agents or publishers. While editors may offer analysis and suggest improvements, the final decision reamins that of the author.
 
How can I identify a good independent editor?
 
Since many author-editor relationships are long-term, you want to ensure you're working with someone you like, trust and respect. They should be knowledgeable about the industry, your particular genre and most importantly be able to further an author's existing vision of a manuscript, not make it theirs. Good editors take time to clarify author goals, identify what is working and what isn't and provide support to authors in going forward with their careers. They do not charge reading fees or pay or receive money for referrals from other editors, clients, agents or publishers.
 
Is there any guarantee that working with an independent editor will help me to get an agent or get published?
 
Hiring an independent editor does not guarantee publication or agent representation. It should result in the author having a much more polished and dynamic manuscript to sell.
 
Have you seen books that are terminally sick and that cannot be fixed?
 
A few, yes.
 
What do you do with them?
 
In those situations we go back to the drawing board. I explain what isn't working and why and offer new directions for the author to consider. I also encourage them to seek a second (or third) opinion and then, if they feel comfortable, we move forward from there as a team. It's their story but it's my job to help tell it better.
 
What do you most enjoy most about your job?
 
Seeing a story unfold in new and unexpected ways. Discovering a new voice, gripping premise or beautifully written characters who compel you to go with them on their journey. I love the unique challenge posed by each writer or manuscript.
 
What are your contact details?
Lisa Rector., Editing Express, 314 West 89 Street, Suite 8, New York,
NY 10024 -- mediahype@lynx.net --- (917) 450-4769
 
What information do you need people to include with any inquiries?
 
Mention where we met or the type of manuscript you've written, what services you are looking for and where you can be reached.
 
Submission format
--- Please ensure that all manuscript submissions contain 12 point Courier font only with 1 and 1/2" margins all around the page. Manuscripts should be double spaced on single sided white  paper, 80 gsm. Each page of the manuscript should be clearly marked by page number and the author's name or book title. A synopsis and/or outline should be attached to the manuscript (even when these items are not being edited) along with client contact information.

 
 
 

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