2026 Editor's Light
This one will probably get me kicked out of the editor’s country club.
Actually, I don’t know if there’s an Editor’s Country Club. That’s exactly how wars get started. So I apologize in advance.
If there is one, though, let me know.
But I digress.
Listen, I’m about to say the quiet part out loud. Your editor isn’t always right.
Hear me out. Hear me out. Your editor is almost always right when they say, “something isn’t working for me.” But the diagnosis of why it’s not working may not be.
Let me explain:
I can tell you where I stumbled. I can tell you where I stopped believing a character. I can tell you that the ending didn't satisfy me or that I couldn't follow the symbolism.
What I rarely know is what you intended. And my advice could run afoul of your intentions.
I say, “this dialogue is stiff. No one speaks like this.” But you had a neighbor who talked exactly like that and you wanted to give your character a specific quirk. We are armed with different bits of information and because I only have a piece of it, my feedback may be directionally correct but may not fit what you’re trying to accomplish.
Furthermore, editing is an art; it’s not a science. And it’s a beautifully subjective art. What one reader finds breathtaking, another may find melodramatic.
Now pay attention! I’m not telling you to ignore your editor. That would be foolish. A good editor can bring insight and experience that helps you see possibilities in your story you couldn't see yourself.
What I’m saying is that sometimes what you want for the story is exactly what your story needs and the editor can’t quite see that.
So sit with the feedback. Consider what type of feedback you’ve been given: line level, emotional architecture, pacing, etc. Weigh what you want for your story, and find the balance you feel best suits your work.
If possible get another trusted reader and pay attention if they stumble over the same parts.
At Neon & Smoke, we’ve rejected some beautiful stories because they weren’t the right fit. We’ve also rejected some because they weren’t quite developed. And sometimes we just get it wrong.
(You remember that time one editor told you your story wasn’t working and the next one submitted it for awards consideration? It happens.)
Look, an editor should be able to help shed some light on your work. I implore you to listen carefully and glean what you can learn. But it’s also cool to take it with a grain of salt.
Because we don’t know everything.
I’d love to talk more. But I gotta run. The bank closes at five and it’s time for the Editor’s Country Club annual dues….