Jethro Tull is in my head. I don't mind. Skating Away is a good song. No really it is. Well maybe it's annoying but there are so many worse songs that skating away removed from expectations and all that other ways you really want to be or soemthing like that - it's not so bad.
Finally checked my yahoo account and got an updated story from a writer that sent along a very guilt-ridden letter. Kind of funny because of all the writers that I got stories from she was the most professional. I suppose I'm only gauging it by writers where I accepted their stories knowing that there were flaws but that they could be ironed out. She was the most willing to work with me. Such a relief since there were many writers that just acted like every word they wrote was a precious jewel beyond any criticism.
But I suppose it's not so bad. I mean Thomas Deja told me after a disagreement that "if you're going to have Harlan Ellison sized tantrums, you better have Harlan Ellison sized talent" and he was right. I just needed to go through even a fraction of the shit that he goes through as a full-time editor to see it. Talent is one thing but the ability of a writer to put aside ego and actually work with an editor is also important (well 10% important - I mean if there's nothing there in the first place the editor just goes "thanks but no thanks" and that's the end of it) because too many writers have this notion that the editor is the enemy. Even if they know the editor personally and like the editor personally, once the editor starts criticising the writer's work and suggesting changes, the writer will go into attack position. Even though the editor really wants to make the best story possible. That's not to say that editors are always right. Hell no. But if an editor consults with the writer on 5-6 things and the writer says that nothing needs changing and that the editor doesn't know what he/she is talking about because everything is perfect - well that's just not a writer that is going to get very far. Even an "I personally like the sentence but I can see your point so if you want to get rid of it, go ahead" or better yet a "I read it your way a few times and read it my way and I think the original still works better" proves that the writer is serious. Accusing an editor of performing taxidermy on a paragraph that sounds like mush isn't an endearing trait.
Of course the next time I edit an anthology I ask no friends for stories. Or no mostly unpublished friends for stories. And if they submit stories and I don't think they are ready I will reject them. No more of this "well it's good but there are places where it needs work" stuff. If the writer can't send a story that's ready for publication (with a few things that can be changed - no one's perfect) then I don't want to work with the writer.
Unless of course
jourdannex sends me stuff because she is that good.
Been thinking a lot about this stuff. Sorry.
Finally checked my yahoo account and got an updated story from a writer that sent along a very guilt-ridden letter. Kind of funny because of all the writers that I got stories from she was the most professional. I suppose I'm only gauging it by writers where I accepted their stories knowing that there were flaws but that they could be ironed out. She was the most willing to work with me. Such a relief since there were many writers that just acted like every word they wrote was a precious jewel beyond any criticism.
But I suppose it's not so bad. I mean Thomas Deja told me after a disagreement that "if you're going to have Harlan Ellison sized tantrums, you better have Harlan Ellison sized talent" and he was right. I just needed to go through even a fraction of the shit that he goes through as a full-time editor to see it. Talent is one thing but the ability of a writer to put aside ego and actually work with an editor is also important (well 10% important - I mean if there's nothing there in the first place the editor just goes "thanks but no thanks" and that's the end of it) because too many writers have this notion that the editor is the enemy. Even if they know the editor personally and like the editor personally, once the editor starts criticising the writer's work and suggesting changes, the writer will go into attack position. Even though the editor really wants to make the best story possible. That's not to say that editors are always right. Hell no. But if an editor consults with the writer on 5-6 things and the writer says that nothing needs changing and that the editor doesn't know what he/she is talking about because everything is perfect - well that's just not a writer that is going to get very far. Even an "I personally like the sentence but I can see your point so if you want to get rid of it, go ahead" or better yet a "I read it your way a few times and read it my way and I think the original still works better" proves that the writer is serious. Accusing an editor of performing taxidermy on a paragraph that sounds like mush isn't an endearing trait.
Of course the next time I edit an anthology I ask no friends for stories. Or no mostly unpublished friends for stories. And if they submit stories and I don't think they are ready I will reject them. No more of this "well it's good but there are places where it needs work" stuff. If the writer can't send a story that's ready for publication (with a few things that can be changed - no one's perfect) then I don't want to work with the writer.
Unless of course
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Been thinking a lot about this stuff. Sorry.