How would you describe yourself? A writing coach? Freelance editor? Independent study instructor?
Definitely a freelance editor. I’m not a writing teacher. I love to work on manuscripts that I feel have the potential to be published–ones where my feedback can help a writer shape his/her characters and story.
You’re a former Delacorte (Random House) editor, with a history of publishing children’s-YA books across age markets and genres.
Could you tell us more about the insights you gained through this experience?
I love editing books for all ages–picture books, chapter books, middle grade and YA novels. The variety keeps things interesting. I find it especially liberating that middle-grade stories do not include romance, something that’s largely a must in YA novels. In terms of insights, I guess it’s that marvelous storytelling exists in every age group and in all genres.
Of the titles you edited, which stand out in your memory and/or might serve as models of study for writers interested in working with you?
In middle grade:
—Paperboy by Vince Vawter (Delacorte, 2013) received a 2014 Newbery Honor. I’d never encountered a protagonist with a speech impediment. It’s told in a memorable first-person voice that makes you feel what it’s like to be a stutterer. Plus, there are so many rich plot threads to the boy’s coming-of-age story.
—Because of Mr. Terupt by Rob Buyea (Delacorte, 2010) features seven very different kids in the same third-grade class. Pure fun, very kid-friendly, with a lot of heart. Each character is so well defined.
In young adult:
All the books I’ve mentioned stand out for their memorable voice(s), compelling characters, layered storytelling, and emotional pull.
All the books also happen to be examples of realistic fiction, which I have an affinity for. But I love a new twist on a fairy tale (Wildwood Dancing by Juliet Marillier (Knopf, 2007)), not edited by me), thrillers (All Unquiet Things by Anna Jarzab (Delacorte, 2010), which I edited), and all-around page turners (The Book Thief by Markus Zusak (Knopf, 2006) and The Hunger Games by Suzanne Collins (Scholastic, 2010), both very different and edited by others).
What kind of writer would be best suited to your working together on a freelance basis?
I prefer to work on a complete manuscript. It’s easier for me to assess and give constructive feedback on.
What can you tell us about how you approach a manuscript?
I read with an eye toward sufficient character development (protagonist and secondary cast), plot structure, setting, and overall pacing.
How would you describe your feedback style?
I am honest–what’s working, what’s not–and I do my best to suggest ways to rethink the weaknesses so that the revision gets the story to the next level. I try to be constructive.
What would be the logistics? How should writers get in touch with you? What would happen from there?
I can be reached at email@example.com. I’d like a short note, saying whether the manuscript is middle grade or YA and a brief synopsis. Please attach the first chapter so that I get a sense of the story and voice. Then I’ll decide whether I can be of help.
My fee depends on page count and what is required: general feedback only; revision letter and possible mark-up of manuscript; a line edit, etc.
I’m happy to answer questions.
Do you have any interest in joining writer conferences or workshops as a critique (or other) faculty member?
|Francoise (center) with authors Mari Mancusi (left) and April Lurie (right)|
I’d be happy to offer critiques as a guest editor at writers’ conferences.
More globally, what should writers consider in choosing a freelance editor?
It’s helpful to see what types of books a freelance editor published when employed at a publishing house. A shared sensibility goes a long way.
FYI: I’m about to create a website, so a more comprehensive list of the books I’ve edited will appear there.
More and more writers are seeking the assistance of a freelance editor before submission or publishing independently. For the latter, the reason is fairly obvious (they want to ensure a professional-level book). But why do you think agented and trade published writers seem more predisposed of late to take this route?
It’s something I’ve encountered in recent years only, but it’s becoming more common. Editorial staffs have shrunk and editors are overburdened. Because publishing schedules have to be met, there isn’t necessarily the flexibility to work on every manuscript until each one is truly at its best.
A freelance editor can devote the time to multiple rounds of revision. So I guess agented and trade published writers now seek out freelancers to ensure that their manuscripts are strong enough for acquisition, as well as thoroughly polished for reviewers.
Is there anything you would like to add?
Thank you for this interview, Cynthia. I look forward to editing some wonderful stories.