Interviews with Deborah

Brodie: Of course, weaknesses are important to identify in order to work with and around them. But I find it most effective to focus on a writer’s strengths and how we can build on those strengths.

I look for ways to highlight the writer’s voice: cut out filler dialogue that reveals little about character and doesn’t further the plot, create consistency in point of view, and deepen the characterization to show growth and a change in awareness.

Sometimes I use writing exercises to help writers explore character, refine plot, develop dialogue, and highlight setting. I try to tailor these exercises to the individual writer and the specific manuscript, whether picture book or novel.

I hope our work together will help the writer reach for the next rung of the ladder in her ongoing career. And also, that it will give her tools she can use in working on her next book.

I think all this applies to any genre or age group, including books for adults, which I also edit.”

Brodie: When I first left Roaring Brook, I immediately started to look for full-time work in another publishing house. Editors, publishers, and agents kept sending me freelance projects, unsolicited, and two major publishers said they'd like to turn over projects to me, as a freelance editor, that would include working directly with the authors. As long as I can work directly with authors — the juicy, delicious part of being an editor — I'm happy. I worked from a home office for the last six years, so I'm all set up and have already proven how productive and professional such an arrangement can be. I just didn't expect to enjoy it this much and to be so comfortable with such a fluid structure.

So this is no longer an interim arrangement for me; it's my new work life — and I love every varied and meaningful minute of it!”

Brodie: The urge to write is so compelling that an editor who writes usually becomes a writer who edits. I don't want to create something from scratch; I want to help someone else do that and stretch and grow and do even better work.

I give away ideas to people who can write, never holding on to them for myself. I try to work with writers the way they need to work, to fit their personal style. (Do they need a deadline, for example? OK, I'll make one up. Are they paralyzed by deadlines? OK, let's pretend we have all the time in the world. Do they need to talk out every detail before beginning, or do they just generally want to know I'm there?)

Also, over a 30-year period, I've developed different ways of pulling out potential, tricks for overcoming writer's block, and writing exercises for moving along. There are almost as many ways of approaching writing as there are writers, and the writers I've worked with have taught me so much.”

Brodie: Revision? It's the best part! What is hard is keeping up with everything so you have time for the pure work. I would not be doing my job if I didn't do some of the peripheral things — marketing, going to conferences, meeting agents, reading submissions, negotiating contracts, checking proofs, networking.

But the process of revising — that's the core of the work. I'm not the right editor for someone who thinks every word is sacred and [the writing] doesn't need work. I think everyone has ideas, many people can write, but what makes the difference is who is willing to revise intelligently and revise vigorously. And more than once. I don't run out of energy for revising. I will go as far as the writer is willing to go.”