My wonderful publishing editor, Rebecca Lee, started working with me on revising the manuscript before we’d even signed the contract. This isn’t unusual in the publishing world, apparently: a deal is a deal, but contracts take a while to negotiate and no one wants to wait around dotting Ts on the legal stuff rather than the book itself.
I wasn’t sure what to expect at this stage and awaited the return of my manuscript in terror of what The Red Pen of Doom might have in store for me…
Actually, as with Claire’s comments, I was delighted with my feedback. And, again, the key factor was that no one was trying to change the book, only to improve it: to help me achieve what I was driving towards anyway.
For instance, I already had a sneaking suspicion that one of the smaller elements wasn’t coming across clearly but I wasn’t entirely sure what readers might find most perplexing. Rebecca knew exactly what I needed to do: clarify the geography of Evie’s home. That wasn’t a problem – I haven’t drawn a floor-plan of the house, but I could if someone asked me to. So bringing that knowledge out – the odd phrase here and there – was a simple fix to a thorny problem.
Another key issue related to language… I come from a family that’s part British, part Italian and part American. Critically, for the book, although Evie is English some of the phrases she used in the draft manuscript turned out to be American. Who knew? Well, I didn’t, but Rebecca did… and I was very happy to be able to ditch my accidental Americanisms in favour of phrases that were in character for Evie.
I’d already done my best to avoid mentioning brands and also current ‘big hit’ movies etc. as these things can date a book very quickly, so Rebecca was pleased on that front.
A trickier issue was one of vocabulary. Given that the book is going to be marketed as YA/cross-over, Rebecca wanted me to consider whether some of the words I used (she picked out the key examples) were too complex. I considered very carefully in each case and spent time poring over my thesaurus to see if there were other words that worked as well in the relevant contexts. Sometimes there were, in which case I changed the original word: why use a long word when a short one will do just as well? Well, lots of academics (and some writers) spend their whole careers doing just that (and not an awful lot else), but I don’t see the point. Complexity should be saved for the things that really are complex, rather than wasted on those that can, in skilled hands, be simple.
However, in some cases I’d chosen a word because of its nuances and associations… When that was the case, I didn’t change the manuscript. I may not believe in making things complicated when they don’t have to be, but that doesn’t mean I’m in favour of ‘dumbing down’. If someone doesn’t know a word, they can look it up – and that’s no bad thing to be encouraging for YA readers or, indeed, adult readers who might like an opportunity to expand their vocabulary. I wrote The Bone Dragon for all people over a certain age – not specifically for the YA category – so I didn’t want to make changes to the book that I felt would render it less appealing to adult readers… or, indeed, YA readers looking for something a little more challenging.
As it turned out, there were about 10 words that Rebecca felt would be challenging for the YA market: that seemed to be a really good number of ‘difficult’ words to leave in. So I did.
… More on market factors and their influence on the manuscript in my next post.
If you’re reading and have experience of editors or agents giving you market advice about how to change your manuscript, I’d be really interested to hear about it. Did you feel the advice was helpful? Did you feel it conflicted with your creative aims?