Wandering around the Albuquerque Airport Terminal, after learning my flight had been delayed four hours, I heard an announcement: “If anyone in the vicinity of Gate A-4 understands any Arabic, please come to the gate immediately.”
Well–one pauses these days. Gate A-4 was my own gate. I went there.
An older woman in full traditional Palestinian embroidered dress, just like my grandma wore, was crumpled to the floor, wailing. “Help,” said the flight agent. “Talk to her. What is her problem? We told her the flight was going to be late and she did this.”
I stooped to put my arm around the woman and spoke haltingly. “Shu-dow-a, Shu-bid-uck Habibti? Stani schway, Min fadlick, Shu-bit-se-wee?” The minute she heard any words she knew, however poorly used, she stopped crying. She thought the flight had been cancelled entirely. She needed to be in El Paso for major medical treatment the next day. I said, “No, we’re fine, you’ll get there, just later, who is picking you up? Let’s call him.”
We called her son, I spoke with him in English. I told him I would stay with his mother till we got on the plane and ride next to her. She talked to him. Then we called her other sons just for the fun of it. Then we called my dad and he and she spoke for a whilein Arabic and found out of course they had ten shared friends. Then I thought just for the heck of it why not call some Palestinian poets I know and let them chat with her? This all took up two hours.
She was laughing a lot by then. Telling of her life, patting my knee, answering questions. She had pulled a sack of homemade mamool cookies—little powdered sugar crumbly mounds stuffed with dates and nuts—from her bag—and was offering them to all the women at the gate. To my amazement, not a single woman declined one. It was like a sacrament. The traveler from Argentina, the mom from California, the lovely woman from Laredo—we were all covered with the same powdered sugar. And smiling. There is no better cookie.
And then the airline broke out free apple juice from huge coolers and two little girls from our flight ran around serving it and they were covered with powdered sugar, too. And I noticed my new best friend—by now we were holding hands—had a potted plant poking out of her bag, some medicinal thing, with green furry leaves. Such an old country tradition. Always carry a plant. Always stay rooted to somewhere.
And I looked around that gate of late and weary ones and I thought, This is the world I want to live in. The shared world. Not a single person in that gate—once the crying of confusion stopped—seemed apprehensive about any other person. They took the cookies. I wanted to hug all those otherwomen, too.
This can still happen anywhere. Not everything is lost.
For some of us, the new year provokes a Pavlovian response. Every January, the month and year conspire, and time seems to be both starting over and running out. Some respond to the conspiracy by becoming, for a moment or more, their most industrious, goal-setting selves. Others might be paralyzed by illusory, elusive possibility.
In a typical year, the first week of January means a new slate of queries at Modern Writing Services. The queries usually come from writers in the former category. They’ve been prompted, by the new-year fire, to grasp the hot iron of a long-envisioned book and make their mark.
But this year is not a typical year, and while it has closed so much down, it has also opened up a space for atypical queries. A number of writers who have reached out in this first week are the industrious, almost-finished kind. But a surprising number of others have reached out with goals they’ve only recently and tentatively identified as worthy of pursuit.
And this latter group is beginning to look like a trend.
Because developmental work can be a long game, new-year queries often set a powerful focus. It’s early, but 2021 appears focused on women writers creating autobiographical passion projects that speak truth to power on issues of climate change, sex abuse, trauma and healing, and social justice.
It’s hard to make predictions from January’s vantage point, but if the trend holds, 2022 looks to be an incredible year. Not just for the health of our nation, but for writers and readers, too.
I stopped at a red light on Mass. Ave. in Boston, a couple blocks away from the bridge, and a woman in a beat-up old Buick backed into me. Like, cranked her wheel, rammed right into my side. I drove a Chevy pickup truck. It being Boston, I got out of the car yelling, swearing at this woman, a little woman, whose first language was not English. But she lived and drove in Boston, too, so she knew, we both knew, that the thing to do is get out of the car, slam the door as hard as you fucking can and yell things like What the fuck were you thinking? You fucking blind? What the fuck is going on? Jesus Christ! So we swore at each other with perfect posture, unnaturally angled chins. I threw my arms around, sudden jerking motions with my whole arms, the backs of my hands toward where she had hit my truck.
But she hadn’t hit my truck. She hit the tire; no damage done. Her car was fine, too. We saw this while we were yelling, and then we were stuck. The next line in our little drama should have been Look at this fucking dent! I’m not paying for this shit. I’m calling the cops, lady. Maybe we’d throw in a You’re in big trouble, sister, or I just hope for your sake there’s nothing wrong with my fucking suspension, that sort of thing. But there was no fucking dent. There was nothing else for us to do. So I stopped yelling, and she looked at the tire she’d backed into, her little eyebrows pursed and worried. She was clearly in the wrong, I was enormous, and I’d been acting as if I’d like to hit her. So I said Well, there’s nothing wrong with my car, nothing wrong with your car…are you OK? She nodded, and started to cry, so I put my arms around her and I held her, middle of the street, Mass. Ave., Boston, a couple blocks from the bridge. I hugged her, and I said We were scared, weren’t we? and she nodded and we laughed.
The propinquity effect describes the likelihood that interpersonal relationships develop—and develop more deeply—according to proximity. We’re more likely to forge friendships and develop deep relationships with people who live near us or with people we frequently see.
This may be unsurprising, given that physical proximity provides so many opportunities for, and thus expands the time we spend in, conversation (an effect made abundantly clear during the pandemic). More surprising might be the propinquity effect’s relevance to book development.
In my last post, I advised authors with underbaked, underdeveloped manuscripts to take a break. A break aids consolidation, which in turn enables authors to return to work with newly accrued knowledge and a fresher perspective. (Also, sometimes it just feels good to take a break, even if we don’t want to or don’t feel like we deserve to.)
But a break doesn’t need to be passive. Authors can help themselves (and maybe extend their enjoyment) by activating the propinquity effect. By identifying and reading the books with which their work is in conversation, and by producing imagined responses, authors establish deeper connections between their work and the proximate books with which their work is in relation.
By making the most of propinquity, authors enlarge their perspective and view their work’s particular qualities and strengths more critically. This not only benefits their manuscript, it also helps refine extratexual efforts such as query letters or marketing materials.
In fact, the propinquity effect should be considered an incentive for taking a break. Authors may benefit from a pause in their work, but their manuscripts benefit when authors develop the connections between their manuscript and proximate titles.
Sometimes, authors seek editorial work for a manuscript that isn’t yet ready for the editing stage. (And oftentimes, authors are surprised to hear this feedback.) But what if your manuscript is underbaked (or unformed or underdeveloped)? What can you do to prepare your manuscript for eventual publication?
If your manuscript doesn’t qualify for developmental work, you’ve gotten good news and bad news. The good news is simply the fact of feedback. Manuscripts are many and editors are few: If an editor responds to your work—even to say it’s not yet ready—something in it caught their attention.
The bad news is the manuscript is underdone. It could be the argument lacks precision, illustration, or evidence. Or it may be the treatment of argument, illustration, or evidence lacks depth, detail, or distinction. Regardless of the cause, after the hyperintense effort of writing, you may feel frustrated or demoralized by the prospect of a return to drafting.
What should you do? You should take a break. “Take a break” sounds like an ineffective or childish intervention, but findings from brain-based research are robust: When it comes to periods of acute skill acquisition, emotional engagement, work productivity, and of course muscle activity, taking a break is imperative for mental, emotional, or physical consolidation.
Taking a break from the work also clears brain congestion to enable more efficient neurological processing. This, in turn, might help you see your manuscript more clearly, and through the critical perspective required for self-revision.
So, if you’re an author with manuscript feedback that amounts to “not yet,” fully enact that assessment: Take a break.
Like any craft, developmental editing is aided, and sometimes limited, by the tools of its trade. As a freelance developmental editor, I use Google Docs, the MS Office Suite, Adobe InDesign, and a number of client-based content management systems.
Although Docs is popular with my clients because of its promised collaborative potential, its tools aren’t well suited to projects with a long timeline, or (to be frank) multiple readers. MS Word can also be maddening: Its nonembedded fonts, nonuniversal autoformatting features, and processing limitations on long docs with tracked changes can pose annoying obstacles to efficiency.
But Word is still more navigable than Google Docs, as I’ve written about before, and it more capably, more transparently handles long dialogic projects (when the correct tools are used).
InDesign offers another programmatic tool, but it typically applies to typeset projects, or projects already subjected to interior layout design. It is seldom flexible or navigable enough for early-stage work, so I may work in InDesign, but designers and proofreaders work there much more frequently and efficiently.
Excel, on the other hand, is crucial for tracking word counts and other project details, and for informing client content-management platforms. I augment it with a trusty shareable, interactive calendar (Google or otherwise), and a synced cloud-based folder.
Developmental editors, freelance and otherwise, are like project managers. Both plan, facilitate, and manage execution, and both simultaneously attend to micro, macro, and meta perspectives. The right (or right-enough) tools make such attention possible.
Because developmental editing is a type of creative work, editors often take an idiosyncratic approach to their projects. But because developmental editing is also a type of project management, editors often take a systematic and regimented approach. Creative and systemic come together for me by way of that intimate but structured conversation.
Intimacy may be a strange word to use in reference to an argument-driven manuscript, but most authors are well aware that writing requires a teeth-gnashing, garment-rending, hair-tearing effort. Good writing, even if it doesn’t inspire such self-inflicted figurative violence, depends on attention, care, and time. It therefore represents and reflects fundamental truths, maybe about the world at large, but most definitely about the world within the writer, and the world within their work.
A developmental editor extends the writer’s attention, care, and time—but also stages an intervention. This is necessary because intimacy, while it brings us closer and more deeply into our work, narrows our field of vision. To make use of its potential value, we must adopt the meta-perspective that enables us to see both the benefits and the drawbacks of closeness.
Helping writers acquire this perspective is the developmental editor’s job. We insert ourselves into an extant intimate conversation, using tools to structure the intimacy and make it more meaningful.
If my skill set doesn’t fit an author’s needs—if you seek a straightforward proofread or require a too-tight timeline, for example—I will typically encourage a visit to the Editorial Freelancers Association job board (and I will wish you luck wading through the reams of responses you’ll definitely receive).
Other times, however, the fit feels right, and our conversation becomes a lot more interesting.
In some ways, a developmental edit is just an intense, ongoing conversation consisting of three intertwined dialogues: between the author and me, between the author and their manuscript, and between their manuscript and me.
The conversation begins with an author articulating their extratextual focus, providing answers or even ruminations to questions such as the following: What is your book’s message? Who wants or needs to hear it? Why does this audience want or need to hear it, and what will they gain from it? What do you want out of the book publication process (in terms of number of books sold, but also in terms of legacy)? How do you want to be introduced to others five years from now?
Once I understand your answers, we turn to your manuscript and extend the conversation.
Like other Minnesotans, I am not as much out in the world these days. When I venture into public, it’s to run necessary errands, where masks make idle chit-chat feel positively furtive.
Now, when I’m asked what it is, exactly, I do, I’m describing my services–their use and their potential value–over the phone to prospective clients. Typically, I’m describing developmental editing, my most popular service for writers and publishers.
A developmental editor is a big-picture editor who helps strengthen a manuscript’s focus and structure. Most developmental editors (or at least this one) offer hands-on substantive support, including reverse outlines, sample sentences and paragraphs, and quick-and-dirty lessons on grammar or syntax.
My developmental work is informed by a bifurcated sense of focus, in both textual and extratextual terms. Textual focus refers, of course, to the clarity and persistence of subject-specific investigation. For example, if I’m working with a self-help or how-to book, I’m assessing it for focus on a clear, replicable process.
Extratextual refers to something a bit different, but something that often proves crucial to the success of a final project: This is the triangulation of a writer’s message, audience, and goals.
Frequently, when a book lacks textual focus, the blurred lines are a consequence of a lack of extratextual lucidity. Accordingly, my developmental services frequently begin with a series of phone calls to discuss a writer’s sense of alignment among message, audience, and goal.
These conversations are always enlightening, and by capturing a writer’s rhythm and cadence, they invaluably inform developmental work. They also set in motion the deeper, more intense, and ongoing conversation that constitutes a major part of the developmental edit.
What does it mean to work as though we live in the days of a better civilization? Although frequently attributed to Alasdair Gray (despite his disavowal), the line belongs to Gray’s contemporary, Canadian Dennis Lee.
And best of all is finding a place to be in the early days of a better civilization For we are a conquered nation: sea to sea we bartered everything that counts, till we have nothing to lose but our forebears’ will to lose. But what good is that in a nation of losers and quislings
Although Lee’s early work denounced Canada’s colonial complicity and earned him the Governor General’s award in 1972, he is better known for his children’s poetry. In fact, his poetry was a favorite of engineering professor Deb Chachra, who recently namechecked Lee in Metafoundry, her newsletter on the nexus of infrastructure, engineering, art, and individuals.
In Issue 73: Our Cyborg Collective Body, Ourselves, Chachra invokes the slow-burning apocalypse in William Gibson’s scifi novels (specifically, The Peripheral and Agency) to describe the current COVID crisis. She then cites Lee’s poetic injunction, calling on us to imagine a systemic, collective response.
What would it look like, after all, to build an infrastructure fit to serve a better civilization?
According to Paul Graham Raven, infrastructure is a “tool,” “an extension of baseline human abilities.” It’s a systematized technical augmentation–but with a biological input (us!).
In the context of COVID, we know our bodies have needs that manifest individually but must be met collectively: We become infectiously ill individuals, sometimes so ill we must be isolated from the collective to be cared for by the collective before returning to the collective. Needs like these are met (or not) through infrastructural responses, such as public health, also public education.
Yet, to build tools to meet the needs of a better civilization, we must not only identify needs that have not yet been met, but also determine those needs that have not yet been recognized as the collective’s responsibility.
In Sexuality for All Abilities, Katie Thune and I argue that there is an individual and acollective need for comprehensive sex education for young people in the special education classroom. While writing this book will not determine a better civilization, arguing for recognition of a collectively solvable problem may help hasten its arrival.