Editing, specifically book editing, is simply the
conception, planning and specifying of the contents of a book, in cooperation
with the author, for the purpose of transmitting the author’s message to the reader
in the best, most satisfying and most profitable way possible (Festus
Adesanoye).
The editor’s main role is that of an experienced
intermediary who ensures the successful delivery of the author’s ideas for the
information, education, instruction or amusement of the reader.
The editor sees to the development of the manuscript;
the selection, preparation and styling of the manuscript; and the organisation of
the entire editorial process.
When selecting or rejecting a manuscript he/she puts a
lot of factors into consideration:
a) Does the manuscript fit into the list of his
publishing house?
b) Does the manuscript conflict in any way with the books
already accepted by his publishing house?
c) Are the lists of manuscripts in his publishing house already
crowded with similar texts?
d) Is the subject matter of the book one which has proved
unsuccessful for the particular publishing house in the past; and
e) Most importantly, is there a ready market for the book
if eventually published?
It is not until all these factors have been carefully
considered – the literary sophistication of the author has very little to do
with the publishability or not of his manuscript – that the editor decides,
regretfully, to decline.
Unlike the popular picture painted in the mind of an
author, of a hard-to-please editor, gloating over all the manuscripts he
rejected; is the more real imagery of an experienced professional, seeking to
make objective book decisions,
acceptable for public consumption and for profitability.
The editor, indeed, tries to make the process of
rejection as painless as possible to the author, and he achieves this by
writing as gracious a note as is possible in the circumstances.
Here is a sample of a letter of rejection fashioned by
the editor of a Chinese journal:
We have read your manuscript with boundless delight.
If we were to publish your paper, it would be impossible for us to publish any
work of a lower standard. And as it is unthinkable that, in the next thousand
years, we shall see its equal, we are, to our regret, compelled to return your
divine composition, and to beg you a thousand times to overlook our short sight
and timidity (Cited in Festus Adesanoye, The Book in Nigeria).
It is true that the standard rejection note is not as
ebullient in tone as this one, but the real goal of the exercise is to say
‘thanks, but no’ in the most pleasant way possible.
Modified from: Festus Adesanoye, The Book in Nigeria:
Some Current Issues, Ibadan University Press, 1995.
