Happy Friday! You may have read Jen’s excellent piece on Monday about editing sweet, sweet copy. If not, there was a link back in that last sentence and you ought to click it. Now it’s time for the second blog of the week, by me! As Jen covered copyediting, we thought it would be swell if I talked about the bigger picture: structural editing. Here are some choice shower thoughts I had about this blog, that became this blog.
A disjointed novel, much like a disjointed limb, can be pretty useless. It goes without saying, but there’s a reason that people find short story collections without a very tied-in theme difficult to read in smooth succession. It’s because it’s hard to jump from world to world so quickly because you’ve only just established a connection with the previous story. You need that cool down time, where you dwell in the spaces the author created. You fit yourself into the world’s nooks and wonder about the characters and the plot. (You might wonder why it is that Gandalf didn’t want to go through Moria, but wouldn’t tell the fellowship his fears? Was Gandalf deliberately keeping the truth from Gimli? That bastard!(This was indeed a shower thought.))
Similarly in a novel, disjointed chapters or voices can have the same effect. If the author has created what feels like two different worlds that have no connection, then it can become very difficult to invest as a reader. It becomes more difficult then for the author to impart their story, to build characters and share emotions with their readers.
The job of the structural editor here is to ensure a sense of consistency, or provide suggestions of where to put the glue in the cracks. One of the many things a structural editor will do is called “chunking” where the parts of the story are categorised or chunked into groups. This allows both the editor and the author to get a better sense of the story and character development, what’s happening and when. Often a structural editor may even suggest the scalpel for a voice or chapter, as it brings nothing to the story and is hurting rather than helping. We do the same with paragraphs, but that’s on my next point.
Flow is often one of those annoying buzzwords that people use. But I am people, and I will use it because it’s the right word for the situation. It also literally means flow, as in the same way water flows. Why is it important to a structural editor and also to an author? Flow is vital to the creating a good reading experience of the book overall but also for each individual chapter. Something structural editors look to ensure is that voices, moods or scenes don’t chop and change (unless of course, that is achieving something deliberately). An important part of flow is ensuring that chapters don’t run up against each other and cause people to need a break from the book. Within those chapters, flow is about ensuring that people don’t switch off. That each paragraph pulls the reader to the next like a current. Sometimes to create flow in a chapter, we use the scalpel. Sometimes we move things about. Sometimes we ask for more. That’s what we do. We help put things in place, words, sentences, paragraphs and chapters. All for the long view.
At some point a manuscript becomes a book, and the job of a structural editor is build and mentor, to pester and worry, and ultimately to make sure that an author’s words connect with the reader. We’re for good stories, written well and read even better. We are the big picture people, and as many editors will tell you, the bigger picture is often in the details, which is why structural and copy editing work together to create good books.