What Pisses Editors Off: Writers Who Don’t Bring It
This is an excerpt from my e-book Editors Unleashed: Magazine Editors Growl About Their Writer Pet Peeves. I spoke with 10 assigning editors at national and trade magazines (under condition of anonymity) to find out what writers do that piss them off — and how to avoid being an editor’s nightmare.
Interested in reading the rest? The e-book is only $6.95 — check it out and order it on the e-book page.
The Editor: Assigning editor at a national, large-circulation general interest magazine.
The Peeve: Writers who change the story mid-assignment.
What’s your biggest grammar/style peeve and why?
I don’t think I should have to tell a writer twice not to double-space after periods. I told a writer once, and the first time he did it I went through the copy and removed all the extra spaces; it took me a while, but it was fine. I sent him a note saying to put only one space after periods, but the next time and the time after that he did it again. Why? I don’t want to spend 10 minutes going through a story taking out the double spaces. It’s about attention to detail. I don’t know why some writers feel like they’re in an ethereal existence where it’s all about the art. It’s about the other things too.
Can you share a writer horror story?
A lot of writers we have the most problems with have the best credentials—they’re the ones who drop the national magazine names. They say, “I’ve been in Vanity Fair, Time, Newsweek, blah, blah, blah.” But they have some of the worst habits. I had one that had basically every national sports magazine title to drop, and awards that sounded incredibly impressive. The fundamental story we assigned was a profile of the fitness and nutrition regimen of an older top-name athlete. We discussed the idea thoroughly, and this athlete was not easy to get. The writer turned in what was a passable sort of mini-profile of the athlete. There were only one or two paragraphs in the whole 1,000 words that dealt with his fitness and nutritional regimen. I know a lot of assigning editors tend to do this passive-aggressive thing, but not me—I just said, “I hope you have 700 more words worth of content in your notebook on the topic we assigned.” That wasn’t the case, and it just didn’t work out.
What can a writer do to assure you’ll never hire him again?
The main thing that stops a writer from being used a second time is that the writer just didn’t get it.
We always say to read the magazine; this gives you a certain sense of the style, tone, substance, and presentation. But to really get the DNA of a magazine, you really have to write for it and go through the editorial process. I don’t expect a writer to turn in something that completely matches the tone, style, and so on exactly as we discussed the first, second, or even the third time. Still, there are some writers who just don’t get the fundamentals of the assignment. They have an idea in their head and say, “This is what the real story is about.” But we’re the gatekeepers here.
It’s okay to argue your point in the initial assignment conversation; I don’t take it personally. You can fight for your angle, but at the end of the conversation, we’re going to have an understanding, and I’ll even send an e-mail to summarize. When the story is turned in, it needs to be at least 70 percent there. I can’t look at it and say, “This is so not resembling what we discussed.”
Our magazine will take a topic everyone knows about and give it some kind of twist. So we’ll say, for example, “Find three of the weirdest Civil War reenactments.” Then the writer comes back with a first person story of what it’s like to do a Civil War reenactment. You have to think, “What is going through this writer’s head?” These assignments are not hard…they’re just thought out in a different way. I don’t know why this keeps coming up, but it happens all the time.
Do you have any other writer peeves?
Inaccuracy. If there are huge errors, you won’t be used again. You’re the first line of defense. It comes up all the time: errors of geography, spelling, names. I can forgive a couple of those because I make mistakes too, but when it’s a constant situation, you won’t be hired again. One writer did a profile of a classical musician. In addition to three inaccuracies, the writer dropped into the story the fact that the musician’s biggest influence in his early musical career was his mother. We later found out that the musician grew up poor and whenever he and his mom were home his mom would put on 10 classical records at a time. She worked two jobs to buy his musical instrument. It was the best part of the story! I added that information to the article, and the writer said, “It was just an 800 word story so I wasn’t going to ask about it.” That was his last story for us.
Another peeve: The writer busts their butt to get the assignment, then they pursue it as discussed—but they don’t push the reporting. It’s not because they don’t think about it, but because it’s only 800 words. Never insinuate to an editor that you didn’t give your best effort. Pursue your reporting to where it needs to go. I know that when Wall Street Journal reporters write those 1,500-word pieces on the front page, they gather three to four times the number of anecdotes that run. When I have a writer who thinks, “Oh, it was only 800 words,” I say, “This is a person who doesn’t bring it.” The 200-word FOBs and the 800-word inside features are essentially an audition for you to graduate to the longer features—and someday the cover stories.
If you meet writers at conventions, do you have any DOs and DON’Ts to share?
Don’t take it personally if an editor says an idea is not right for him. If you have five minutes with an editor, why are you wasting valuable time asking why your idea doesn’t work? Read the magazine and you’ll find out why. But for now, just pitch more ideas. The idea you thought was the worst may be the best one for us. Remember, you’re there to make money, not get a pat on the back.
Do you have any additional tips for writers?
You wouldn’t believe how many writers don’t include a source list in their stories. Name, phone number, and e-mail—it’s that simple. I don’t need every dissertation and peer-reviewed study ever written on the topic. And don’t tell me that a fact came from the American Heart Association website…I want the entire URL where that exact document can be found. And you still need a source name of someone at the AHA who can verify that the information on the site is still accurate.
Peeve-Less Pointers
- Follow the assignment specs. You may think that this story would be better as an essay, but if the editor asked for a Q&A with a local celeb, that’s what you should turn in. The editor has to get all the story ideas she assigns vetted by her editors, so don’t mess with the assignment specs.
- Mind the details. The magazine may use one space after periods, no serial commas, states spelled out instead of abbreviated, or numerals instead of written-out numbers. If the editor doesn’t offer you a style guide, pick up a copy of the magazine and figure out the magazine’s preferences before writing your article.
- Don’t take it personally. If an editor rejects your idea, remember that It’s Not About You. It’s about the idea—and it may not even be about that. It could be, for example, that the idea is perfect but the editor already has another writer working on it. When an editor sends you a rejection, think of it as an opportunity to send another idea—and to send your original idea elsewhere.
“I don’t want to spend 10 minutes going through a story taking out the double spaces.”
Does this editor accept stories on paper? If not, Find and Replace will take out all the extra spaces in about 2 seconds. I use it all the time when editing. I admit, it’s annoying when a writer doesn’t follow instructions, but there’s no reason making this particular correction should take even 1 minute, let alone 10.
Excellent advice on the find/replace. Thanks Michelle.
Thanks for posting this, Linda! It’s really helpful to know how NOT to drive an editor crazy, and it was also a fun read.
I’m glad you liked the post!
Excellent interview Linda! The editor mentioned having a lot of problems with established writers who have big publication creds under their belt. Does that make the editor more inclined to take a chance with less experienced freelancers?
As for removing double spaces, it boils down to the inability to follow instructions. Why should an editor spend time doing something the writer should have taken care of?
You’re just handing the editor a reason not to hire you again. The competition is stiff, the easier you make the editor’s life easy, the more assignments you’ll get.
Hi, Samar~ I’m not sure if that makes editors more likely to give newbies a chance…good question, though!
These are great tips, but I do think the double-space thing is odd. Find and replace takes less than two seconds. I wouldn’t sideline a good writer for this very small correction.
I thought exactly the same thing. Find and replace works for spaces as well as for visible chars.
In my secretarial training, way back, we were told always to use double spaces, and I always did. Now that the ‘rule’ has changed I thought it would be hard to adapt, but it hasn’t been. Look, I’m doing it correctly now!
Guys, the editor knows you can use Search & Replace. I think he was just exaggerating the time spent for effect. It still pisses him off, though, to have to do it when he told the writer multiple times not to use double space.
I was stunned by the following, “I don’t think I should have to tell a writer twice not to double-space after periods.” I always double-space after periods. When did this change? I guess my elementary, high school, and college English teachers didn’t receive the memo or were too ‘old school’ to change. I won’t double-space after periods. I received the message loud and clear.
Hi, Rebecca! Here’s your answer: http://www.slate.com/id/2281146/ “Space Invaders: Why you should never, ever use two spaces after a period.”
[...] What Pisses Editors Off: Writers Who Don’t Bring It | The Renegade Writer "This is an excerpt from my e-book Editors Unleashed: Magazine Editors Growl About Their Writer Pet Peeves. I spoke with 10 assigning editors at national and trade magazines (under condition of anonymity) to find out what writers do that piss them off — and how to avoid being an editor’s nightmare. Interested in reading the rest? The e-book is only $6.95 — check it out and order it on the e-book page." [...]
It blows my mind that there are writers out there who just decide on a whim to change the entire focus of an article without so much as running the change by their editor. AND they’re doing this within the first three stories they’re assigned? Seriously? No wonder the editors hate them!
And the civil war re-enactment guy. I mean…What *was* he thinking? I almost want to hear his side of the story. I just don’t understand how anyone could have turned in anything worse than that given the assignment.
It’s like these people didn’t actually want to write. That or they just really didn’t understand what an opportunity it was to have chance to be a staff writer at a major magazine. Their loss I guess.
Less competition for the rest of us!
Are you going to print pet writer peeves? Of course, we would have to point these things out anonymously–or we would be blackballed for being a PITA or not bringing it or something.
Great post, Linda. Definitely made me want to buy the ebook! As a full-time freelancer who doesn’t know a lot of other freelancers, it’s always so helpful to hear what editors like and especially, what they don’t like. Would love to read more posts like this one! Really eye-opening. Thanks for sharing.
Thanks, Kate! Maybe soon I’ll run another section.
I understand that it’s annoying to have to tell a writer the same thing more than once. But it seems bizarre to discard an otherwise good writer for something that miniscule — or, at least, something that’s miniscule if you know what you’re doing. I actually don’t believe for a second that the editor was exaggerating for effect — he apparently does not know the basics of word processing.
I also agree that it’s inexcusable for a writer to change the focus of a story mid-assignment without discussing it with the editor. However, I’m skeptical that this is always what happens. I know sometimes writers ask editors if they can change the focus, because that is *really* where the reporting leads them; the original angle they pitched just isn’t panning out as they thought. And while I understand the temptation of the editor to insist on the original angle, that will likely just lead to articles that seem thin or even phony.
The editor’s complaint that writers don’t “bring it” for an 800- or 200-word piece leaves me a bit irritated, as well. Again, it depends on the situation. Of course you should check your facts thoroughly, make sure everything is correct and relevant, etc. But you’re not going to get endless research and interviews for a short piece, unless you pay accordingly. I’m sure that reporters will collect four times the necessary information for the WSJ. Are you the WSJ? Do you have the prestige of the WSJ? If not (or even if you are), you should pay enough for the writer to conduct all the interviews and research that it takes and still make a decent hourly rate.
If you pay enough, I promise you, you will find writers who single-space after periods, include source lists without being asked, and refuse to alter an idea you like, no matter how little substance is behind it.
(I also learned — in high-school typing class, 15 years ago — to double-space after periods. I still type that way automatically. I removed them from this message before posting, which took my word processor approximately four seconds.)
Thanks for your comment, Laura! I’m guessing you wouldn’t like writing for this editor…he was a stickler for sure.
He was one of my favorites to write for, though.
I don’t mind sticklers (wants flawless grammar and spelling, no factual errors, and an on-topic article). I do mind ridiculous expectations (wants seven interviews for a 300-word piece or for you to “find someone who will say XYZ,” as Star mentions below). It’s impossible to tell which camp this editor falls into, so I don’t know how I would feel about him, specifically. But several of his comments brought to mind problems I have experienced with editors or issues I have heard editors and writers discuss at conferences.
I have no doubt that there are writers out there who are awful to work with. (I’m very sympathetic to his comment that he doesn’t want to work with writers who are high-and-mighty about their “art.”) But I think most of us have been exposed to editors who will take advantage of our desire to please them and break into their publication. I’d have a totally different attitude about excessive research or interviews or rewrites if I were on staff, of course — or if they agreed to pay me per hour for my work!
Fortunately, most of the editors I work with are bright, fair, understanding, and knowledgeable, which makes it easy to walk away if a new editor seems like a PITA.
Laura, you wrote:
“But you’re not going to get endless research and interviews for a short piece, unless you pay accordingly. I’m sure that reporters will collect four times the necessary information for the WSJ. Are you the WSJ? Do you have the prestige of the WSJ? If not (or even if you are), you should pay enough for the writer to conduct all the interviews and research that it takes and still make a decent hourly rate.”
Have YOU written for the WSJ? I have, and I am guessing you have not or you would know that they take the same tack as this editor. In fact, since it’s a daily paper, they pay well under what most consumer mags pay – we’re talking cents per word, not dollars. The “prestige” you mention is really the only reason people work their asses off for the byline. Since the editor in this post is anonymous, I’m not sure why you assume he writes for a title with less prestige. “National large-circulation general interest magazine” describes The New Yorker, Readers Digest, Times Weekend Mags, and many more.
Since Laura pushed back a little, I will add to it. Every writer you hire at a certain level of expertise, editors, will try to get good sources, do extensive interviews, and may end up knowing enough about the subject to write a book–all for your per-story price. Treat this person as a valued colleague, not an annoyingly dim nuisance. If you have questions–ask them all at once, so if the writer goes back to the source, this only has to happen once. Don’t ask the writer to chase the art–don’t places have designers anymore? Sometimes all that source material, including emails (and faxes?) takes longer to assemble and type than a reported sidebar–at least apprec it,most of us provide it these days. If the writer tells you the story may be going in a different direction–or if the writer discovers a better angle–at least discuss it. Don’t tell writers to “find someone who will say XYZ.” I have had that happen! That isn’t reporting. I have had editors say “use only female researchers” or “use only members of our organization.” I could go on–we writers are out here, at our own expense and usually at the expense of our optimal earning power, to help you. When we aren’t working for you, you don’t owe us a dime. We are a resource, and maybe even fun or enlightening to work for–we can enhance your product–play nice. OK–go ahead and blackball me–LOL.
It may seem like editors can be unfair at times, but the reality is that editors are your lifeline to a publication. Editors are your advocates. They are the ones who are convincing everyone else in the editorial department to take your ideas seriously and to give you a chance. If you deliver a messy manuscript, they have to scramble to pick up all the pieces. If you don’t follow their instructions, they are the ones who have to answer to their co-workers.
It’s so important to develop strong working relationships with editors. It’s a mistake to blame them for having high expectations. This is a super valuable article, Linda. A much-needed perspective. Thank you!
Thanks for all your comments! Star, you need to write a manifesto of some sort. I actually wrote one myself several years ago and lost it.
It’s interesting to hear everyone’s perspective. But I will repeat — this editor was great to write for.
I find it interesting if not ironic that as many people complained that an editor would not “take the few moments” to use search and replace on a document as those who didn’t take the same few moments to search out the answer to why he would want it that way. (Linda provided the link to the answer – it has to do with typography. Nobody is going to blackball me for having used two spaces in this post, or in an email to your mom.) But in print, it IS the rule. Instead of using search and replace on my post, I used the same four seconds to look up that rule.