CANSCAIP Interview with Pajama Press editor, Ann Featherstone
How did you become an editor?
I did my undergraduate degree in English literature, specializing in the development of the novel. I took as many upper level courses as I could find, including a particularly memorable class called “Victorian Tales of Terror.” I loved analyzing the great novels, deconstructing them to see how they worked so successfully, and I figured I was destined to write my thesis on Wilkie Collins and get on with the business of becoming an English professor, even though I had serious doubts about my ability to teach. I had it all mapped out, in my head anyway. But I found a job at Munro’s in 1975, my last year of University. It’s a fabulous store in Victoria, BC. And I never looked back, I loved it so much…until 1990, when the publisher of a tiny house in Victoria was looking to expand from 1.5 employees to 2.5, and he offered me a job as “managing editor.” I have to laugh at that now, because I found out pretty quickly that I was going to have to teach myself to become a real editor, and then a good one. But first I had to go out and buy a chair and a lamp! I wore out several copies of The Chicago Manual of Style, editing by hand, of course. So there was a lot of erasing going on in those days. I also promoted the books as best I could and packaged orders. I even laid out type for the first year or so, cutting the long sheets of type and fitting them onto layout pages. A lot has changed since 1990, both at Orca and in publishing in general.
What advice would you give someone who wanted to become an editor?
Today I’ve seen a number of editors break in by getting into a publishing program that offers internships. I think that will be the way it goes from now on, instead of seeing people slowly rise through the ranks. We have all had to tighten our belts, especially the big publishers. And I’ve seen many really experienced senior editors laid off, with former interns put in their place. It used to be that editors came from bookselling or a publisher’s promotions department or sales force. Still others seem to have worked their way in as proofers. But you don’t see that so much anymore. Interns get thrown into the deep end, just as I had to 22 years ago. It’s definitely a sink or swim situation. But I have to say that an English degree and years as a bookseller gave me a superb if somewhat slow start, and I’ve never regretted it.
What do you look for in a manuscript?
I look for a strong voice first, then characters that inhabit a world I can believe in. If a writer has those qualities, even if they are weak in other areas like plotting and structure, I think they have a chance to make it. I also hope to find stories that are really engrossing because they are good stories, not stories that are “good for children.” Although there are many values I look for in a characters, like honesty, loyalty and courage, I don’t want a lesson that overwhelms the plot. What drives the story? I ask myself; if it’s the moral or theme, then I’m not interested. If the characters don’t drive the story, I just don’t want to go there.
What are the qualities of a dream author?
I hope for enthusiasm and a willingness in authors to look at the editorial process as a chance to make their work shine rather than an intrusion on their sense of self worth. My favourite authors tell me they love the editorial process. They might sometimes gulp when they see my edit, but they treat me with the same respect I treat them. And they really try to see my point. They also seem to understand that I am ambitious for them and determined to make sure the final product is something they can be proud of. And they make me feel that it has been a collaborative process.
The worst authors?
I have to say I’ve been really lucky to work with lovely people most of the time, people who have become my friends and respected colleagues over the years. But every once in a while I come up against writers so protective of their work that they don’t want to change one word, let alone consider my suggestions. They see the process as a teeth-gritting operation that they must endure; and if they make changes, it is only because they feel under duress to pass through the gauntlet of the publishing process. On the other hand, there are a few people who will do whatever I suggest without question, and that’s not a great way to keep the creative process going either.
How many steps does editing take?
There’s the initial read. Then I discuss it with the publisher. Gail and I decided long ago that, if one of us hates the story we won’t do it, even if the other one loves it. And that has stood us in good stead. But we do discuss it pretty carefully before making a decision. There are many projects out there that are perfectly publishable. But are they right for our house, at that particular time or in the near future? Then I will discuss with the author in general terms the kinds of changes I can see for the work. If the author verbally agrees to the changes in principal, they will be offered a contract. So far, this can take a number of months, so sometimes I will do some handholding and keep the lines of communication open so the author doesn’t feel that they have been neglected. The publisher is always up to their neck with work, and considering new manuscripts or negotiating contracts frequently has to take a backseat to other more pressing issues. So I try to be as available as I can be to the author during this period. Then, once the contract is signed, I work on my substantive edit. Once the author gets this, we will sometimes discuss it a number of times as the author is working on the rewrite. Then, when the rewrite comes in, I will read it again and discuss with the publisher the changes that have been made. Often the publisher will be required to read the book carefully again, in order to discuss big changes. If everything checks out, I will go through another edit, which incorporates line editing along with any lingering substantive issues. When that comes back, I will do another check through the manuscript to make sure it is as clean as I can make it before I hand it in to the designer. When the designer is done, I will work on the PDF of the design, making any further changes I feel necessary as well as any new issues that appear. While I’m doing this, the proofer is making their suggestions on another file. I look over the proofers changes, “stetting” anything I don’t agree with, saying yes to corrections that are indisputable and issues of house style. The author will also be looking at the PDF, adding their remarks and concerns to the mix. I resolve the issues the proofer found with the author’s opinions and my own, as well as the publisher’s if I feel it necessary. And then I clean up the PDF. I may have to run more corrections after looking at the designer’s work. And once I am no longer worried and have finished worrying everybody else to death, the book is ready to go to the printer. I also prepare the book blurbs: back cover copy as well as flap copy and author bios. I also write the catalogue copy and proof the catalogue. In addition, I write CIP annotations and try to think up clever tag lines for advertising.
I have no idea how many steps that is, to be honest. And it’s too daunting to go back and count!
Of all these jobs, what’s your least favourite?
Without a doubt, catalogue and promotional copy! It is such a headache for me, I can’t even tell you! But as the editor, I’m in the best position to understand the book and our decision to publish it, so I gird my proverbial loins and agonize my way to finished copy that the publisher is kind enough to call “fine” or sometimes even “brilliant.” And then I get a little inkling of why writers need praise and why they find satisfaction is what they have accomplished. Writing is hard work!
Your advice for first-time writers?
Don’t panic! If you are turned down, please, please don’t take it personally. There really are a multitude of reasons why your manuscript might be turned down, so many of which will have nothing to do with the quality of your writing. While your first book is making the rounds, you absolutely must start work on another book. Don’t depend on hitting it big with book one of a huge series that you have planned and won’t write until book one is accepted. If you start getting some personal comments but you are still not offered a contract, try to collate the opinions. Maybe the time isn’t right for your book. Maybe this one was the exercise you had to go through to become a stronger writer. Keep on sending it out until you run out of publishers, then start over with another idea. Try to stay true to your own heart as a writer and continue to write for the genre you love. If you get your first book accepted, congratulations, but you are not done yet by any means. Try to become savvy about the children’s publishing business. Join the Canadian Children’s Book Centre, join a writing group, subscribe to Quill & Quire. Check out Canadian Materials, School Library Journal and Kirkus reviews online. Subscribe to Publisher’s Weekly Children’s Bookshelf, the Horn Book’s email notices, and “Goodreads” newsletter. Ask people to recommend their favourite blogger; there are tons of great ones. Join CANSCAIP as a “friend” until you are published and then become a full member. Join the American counterpart, SCBWI. Go to some conferences and writing workshops. If nothing else, it will tell you whether or not you are truly cut out for a career in this industry. And please read children’s books—recent ones, books recommended by your local bookseller (independent, if you can) or children’s librarian. The absolutely worst thing you can do is continue to write in a vacuum. Find a community of writers out there and become inspired. Never turn down the opportunity to read a well-reviewed or award-winning book in your chosen genre. Don’t isolate yourself by saying you don’t want to be influenced by other writers’ ideas. If you can’t read children’s books for your own enjoyment, this may not be the right path for you.
Peer into your crystal ball …
I’m not very good at predicting trends. I just know that I can’t figure out why vampire novels are still so strong! So I like to look at the industry in general rather than tell you that I’m sure that historical romance/fantasy/mysteries will be the next big trend in kid’s books (even though I suspect they will!) A recent article in Publisher’s Weekly reported the latest stats on children’s books sales compiled by the American Association of Publishers. And as things go in the States, it often follows in Canada a few years later, right? The AAP reported that from April 2011 to April 2012, overall children’s book sales have gone up 24.3%, with hardcover sales increasing by a whopping 42.8%! In fact, the only category of children’s books to go a little soft is board books, which have gone down 14.9%. I don’t think that e-book sales will start ringing the death knell of quality books for children, nor will the iPad destroy good books in their zeal for more creative apps to entertain. What is happening—and this is something I predicted after reading my first Harry Potter and felt vindicated especially after The Hunger Games—is that more and more adults are reading YA titles for their own enjoyment. This represents a largely untapped market; more and more publishers will be producing quite sophisticated covers for their YA titles in future. Early readers are no longer selling; it’s hard to make a profit in this genre. Juvenile novels are still strong in Canada.
But I also think that the economy is going to continue to challenge publishers; overall sales in Canada are not as encouraging as they are in the US just yet. It’s getting harder and harder for the independents to compete with the chains and online bookselling giants like Amazon; and this reality will continue to influence the kinds of books that publishers will look for even as it saddles them with brutal returns after as early as three months. So for now, we continue to look for books that will appeal to library and school buyers as much as bookstores. We will look for stories with broad appeal. We will be looking at fewer books more creatively promoted. And we will continue to cherish authors who know how to get out there and flog their own material. We will look forward to a time again when quality will automatically rise to the top, even as we become more afraid that those days are over forever. But there will always be hope. Publishers have to keep their publishing programs active if they want to stay alive; their editors will always be looking for breakout authors. And we will remain optimistic because we love children’s books. If we didn’t, we’d be no longer in this delightful, and equally frustrating, industry.
