by
Hy Conrad
Every
writer is different. But, if I may be
allowed, I’m a little “differenter”.
That’s not to say better. I’m
just warning you, my advice may be of no help.
You’re
welcome.
Throughout
my career, my work has been divided into two distinct groups; TV (writing for Monk and White Collar) and books, each with its own demons. And though my ideas about editing may not
apply to anyone else, there may be a kernel in here – something you haven’t
heard before. Let’s start with TV.
In
television, everyone gives you notes. I
mean everyone, from the star to the network head to the lady in wardrobe. It’s also a rule that every note has to be
addressed, not necessarily followed, but addressed. This is infuriating but instructive. It gives you a chance to think about your
choices and defend them – or change them.
My
biggest insight into TV editing is that stupid notes can be worthwhile. For example, I once got a note saying a
script was too funny. My first reaction
was, “Hey, stupid! It’s a comedy.”
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| Enter the cafe (VBT) |
So
just because a note sounds ridiculous doesn’t mean it’s unfounded. Just figure out what it means.
In
writing books, I’m a proponent of self-editing.
That’s mainly because I have an over-developed sense of structure and
can usually tell when the story is going off the rails. When my editors do take over, it’s usually to
work on the small things, some insights into character perhaps, or to tell me
to put the quotation mark after the period, even if it doesn’t look
“right.” (Does that look right to
you? Well, it doesn’t to me.)
Once
a month during the writing process, I’ll set aside a day and review the book so
far. I also hang a big note above my
computer asking, “Why is this important?
Why should I care?” (I don’t
really; but you get the drift.)
