Some people refer to this as a query letter, because often it’s filled with questions for the writer from the editor.
More properly, though, it’s an editing letter. It’s still filled with questions, but it also contains plenty of praise for what was done right and well. (A query letter is what a writer sends to an agent.)
(I mentioned this in Part 2 of that three-part series on working with an editor, and then I didn’t include it in Part 3 as I had said I would. Not one of you called me out on it, either. I’m not sure what to make of that.)
(Maybe it just means no one really read it.)
As usual, I can’t speak for all editors, but I can tell you what my editing letter usually contains. As I said, questions and praise; but what kinds of questions? And what kind of praise?
I start with a general “what I liked most about this project.” It’s different every time, of course. Sometimes it’s the way the plot unfolded; sometimes, the characterization; other times, the dialogue. There is always something done well (even if I have to think about it for a bit). Then, I move on to the questions and comments that relate to the work as a whole. This isn’t “on page 72, you said John has brown eyes, but on page 104 they’re blue.” That’s in the file as a marginal comment. If that kind of inattention to detail occurs more than once or twice, it’s the kind of thing I’ll put in the letter. I’ll say it thoughtfully, of course: “I suggest looking at the comments with an eye toward noted inconsistencies. I can’t know which color you intended for someone’s eyes, or how tall someone is supposed to be, but there are times in the story where you’ve set up one expectation and delivered another. I don’t need to know which one you choose, but you need to choose one.”
If there are major problems with basic writing skills, I’ll note that as well, along with suggestions for how to address them. This happens rarely, but it happens. (Remember, I work with indies. Some folks have never written anything except their college term papers. Writing fiction ain’t like writing a research paper.)
There might be something like “I feel like I lost a couple of plot threads in the fourteenth chapter, but they came back quickly in Chapter 15.”
A valuable skill I picked up in a developmental editing class deals with tension in the plot. If I get the sense that the plotting is uneven, I sketch out the narrative spine. That means looking at the end of each chapter and marking on a sheet of paper whether it’s positive or negative for the characters. Are they standing at the edge of a cliff that’s crumbling? Negative. Are they curled up on a couch, eating popcorn while the rain patters against the windows? Probably positive. Did someone receive an upsetting text message? Negative. Then, look at the relative number of positive and negative endings, and how they’re grouped. Too many of either in a row means too little (positive) or too much (negative) tension in the story as a whole. Remember when I said that my style of editing combines developmental, line, and copy? This is part of that. Then I can make general suggestions, based on what I find. The client can take them or ignore them. I get paid, either way. (I’ve done this maybe twice in the last four years, since taking that class. The majority of my clients have enough experience at plotting to get the balance right.)
After I’ve briefly outlined the major things I want the client to look at, I close with one more positive thing. You know about “the sandwich,” right? Praise on the top and bottom, constructive criticism in the middle. Only once that I can recall did I have to work hard to come up with something good to say at the end.
Admittedly, for my long-time clients I tend to ignore the niceties and dash off a quick “Here’s the book. Great job, as usual. Watch out for the prepositional phrases. Can’t wait for the next one!”
We understand one another. And that’s part of what I love about this work.