Q&A with editor Rachel Hamilton

Hi Rachel! Could you give us an insight into your approach to fiction editing? When you receive a new manuscript to work on, where do you begin? 

I begin by jumping straight in. I want to get a sense of the author’s voice and the story they want to tell, so I try to go through the manuscript once with my reader’s hat on to immerse myself in the world and its characters before suggesting any changes. Once I have a solid grasp of how the story flows, I’m ready to begin editing in a way that respects that unique voice and vision. This is the author’s story – not mine – and my goal is to help them tell it in the most effective way possible.

Is there a checklist of things you look out for in a manuscript? 

Every manuscript is different, so I don’t have a rigid checklist, but there are key elements I do look out for. Does the story reel me in and make me want to read on, turning page after page? Can I lose myself in the world the author has created? Is the narrative voice coming through loud and clear, and does it feel authentic and relatable? Are the characters believable? Is their dialogue natural? Is the plot well-paced? Do the cause-and-effect connections tie events together seamlessly? Does the language feel alive? And finally, does the manuscript have that spark of originality that sets it apart from all the other stories out there?

Your expertise is in children’s fiction. Are there any common pitfalls of writing for this age group? 

The most common pitfall? Underestimating how bright and emotionally intelligent young readers are. They have a keen eye for spotting when they’re being talked down to or when an author is sacrificing creativity for commerciality by trying to jump on the latest market trend. Young people enjoy wrestling with complex themes and big emotions as long as they’re presented in an absorbing, thought-provoking manner. They look for narrative immersion and freedom to make their own interpretations. So, steer clear of anything overly preachy and give them the thrill of piecing things together for themselves 

More important than watching out for pitfalls is grabbing opportunities. You can have all the fun writing for this age group. They love to laugh, are keen to feel strong emotions, and are always ready to dream. So, get them giggling, craft characters they can’t help but fall in love with and ignite their imaginations, and you’ve got readers for life. 

What attributes do you think every editor (of fiction) should have? 

First off, a genuine love of stories and storytelling. Also, a passion for words and an understanding of the powerful effect they can have. And an ability to appreciate an author’s vision and voice and to polish them until they shine. Of course, technical know-how, a keen eye for detail and craftsmanship skills are essential for on-page edits, but empathy and communication skills are equally important when working with authors. It’s important to give encouraging feedback that inspires a writer to strive for improvement, not harsh criticism that demoralises them into giving up. There’s a quote by Shorouk Mostafa Ibrahim that I think about a lot: ‘May you never be the reason someone gave up on a part of themselves because you were demotivating, non-appreciative, hypercritical, or even worse—sarcastic about it.’ An author’s trust is a huge thing, and I’d never want to abuse it.

What advice would you give to those looking to develop a career in editorial/freelance editing?

Read! Read to understand, read to explore, read to stay abreast of market trends, but most of all read because you just love it. Never stop learning – there are some great courses out there by companies like Liminal Pages and Cornerstones Literary Agency that can sharpen your editing pencil.

Keep playing with words. I’ve heard people describe editing as ‘dull’. No! It’s anything but dull if you keep experimenting with a variety of genres, narrative structures and writing styles. Remember, the publishing industry is always evolving, so you have to stay on top of new technologies and changing trends.

I’m often told to join professional organisations and attend industry networking events, so I’ll pass on that suggestion. While I’m more of a hermit crab than a social butterfly, I can see the wisdom of their advice, so do as they say, not as I do!

Another piece of advice I’ve been given and agree with – even if I haven’t had time to follow yet as I’m constantly buried under manuscripts – is to develop your brand and establish a strong online presence with a professional website or e-portfolio that showcases your expertise, services, and glowing testimonials from satisfied clients. 

I’ve been very lucky that, so far, I’ve had a constant flow of work due to lovely word-of-mouth recommendations. And this leads me to my final tip – try to make the people you work with happy. Their returning business and recommendations will build your career. How to do this? Deliver more than promised, ensure you can always meet or beat deadlines, communicate clearly, respond sensitively to clients’ needs and concerns and, in the wise words of Bill & Ted, ‘Be excellent to each other.’

Rachel Hamilton has seven years’ experience as an editor and mentor, with Writers & Artists, Cornerstones Literary Consultancy and other agencies. She enjoys interviewing fellow authors and has moderated discussion panels at several UK and international literature festivals. She is currently working as a literary agent with The BIA.

Rachel is also the author of seven books for young people, published by Simon & Schuster and OUP in the UK, Scholastic in the US, and Motivate Publishing in the Middle East. She has also worked as an advertising creative, copywriter and columnist, with articles featured in The Guardian, Time Out and other media. She has taught English and Creative Writing in schools and prisons in the UK and the Middle East, and her claim to fame is that she helped run the world’s highest writing workshop at the top of the Burj Khalifa.