How to Get Perfect
Copy Every Time
Senior Editors Share Their Secrets
BY
ELLEN ULLMAN |Every
editor knows that heart-sinking feeling when they receive poor copy. Either
the writer hasn't understood the assignment, or they haven't done the required
research, or maybe they simply haven't bothered to proofread adequately. Whatever
the case, the writer has simply not produced what is needed. Here, eight senior
editors give their tips for making sure you get the kind of copy you're looking
for every time.
"At Cooking Light, we send out a focus sheet
for every assignment—even front-of-book pieces—that spells out what
we expect in as much detail as possible. A focus sheet forces you to sit down
and think about what you want the story to accomplish, rather than sending off
the writer with only a vague idea. Writers can't read our minds and we might
assume more knowledge than we should. If the writer comes across different information
during the research process, you have something to work from and can, if necessary,
reposition the story. Encourage your writers to come to you with questions.
It can save a lot of trouble."
—Allison Ashton, Senior Editor, Cooking Light
"If the writer is attached to an approach that you know won't
cut it, say so immediately. Be emphatically clear. Don't say, 'We'll see' when
you know it won't work. Dissuade the writer from the start from going off in
the wrong direction, even if it takes the steam out of her sails. She'll eventually
find her way back to something that's workable. Also, I talk with my writers
frequently during the research and reporting process. I want to know how things
are going, if anything is changing. I don't assume all is as we left it in the
assignment conversation."
—Sharman Stein, Articles Editor, Lifetime
"When I assign a story, I encourage the writer to think about
the display copy and come up with cover line suggestions right up front because
it helps focus the story. If the writer is thinking about cover lines and titles
right from the start, the story will stay on track and we won't have to retrofit
at the end to make it work."
—Laura Kalehoff, Features Editor, Lifetime
"After I send a story synopsis and the writer's done a little
research, I ask for an outline. We go back and forth until the outline is approved.
This way, everyone knows what to expect and I have no surprises."
—Christopher Null, Editor-in-Chief, New Architect
"While my writers are working, I basically bombard them with
constant updates on the topics they're covering. Since I get so much material,
it's easy to forward it with 'FYI' at the top. I've found that this keeps writers
on topic and attuned to what I'm looking for. I don't necessarily expect to
hear from them, but they can pretty much expect to hear from me."
—Bill Flanagan, Executive Editor, Computer Shopper
"You want to instill the writer with the idea that the piece
he turns in is the piece he expects to be published. Too many writers, especially
freelancers, write as if they're doing homework to be corrected and graded.
You shouldn't do all the work for your writers. If you get articles that need
to be re-researched and rewritten, get rid of those writers. Develop someone
who deserves to be developed. Demand a professional quality of work; don't do
it all for them. Editors waste so much time turning garbage into something halfway
respectable. You're hiring someone to do something; if they can't do it they
have no business taking the money."
—Clif Garboden, Senior Managing Editor, Boston
Phoenix
"Make sure that you have good writers whose style fits your
magazine. Evaluate their clips based on your publication's goals. Just because
a writer is eager and wants to work for you doesn't mean she has the right skills.
I know a lot of freelancers who I don't work with because their style is different
from ours."
—Amy Leibrock, Senior Editor, Art Business News
"I always make sure the author has seen - and in fact has
actual copies of - the last three or four issues of the magazine in question.
In my experience, this communicates more than any assignment letter or e-mail
or phone conversation can do. If an author has the last few issues in hand,
I can tell her: 'This piece should be similar in tone and focus to the so-and-so
department on page 57 of the November issue.' And once we have that baseline
established, I can tweak accordingly: 'This column never jumps, so don't send
me 1,200 words. And even though that column you have in front of you is very
serious, you should feel free to craft a lighter tone.' Or whatever.
"Some might argue that this assigning approach limits the
possibilities of a given piece, and that's probably true. But given the highly
formatted nature of today's magazines, I think that setting the boundaries in
this fashion is extremely helpful.
"If an author has a story that's never been seen or done
before, well, that's when you reserve a table at Blue Fin and hash it out over
lunch."
—John Godfrey, Senior Editor, Time Inc. Custom Publishing
Ellen Ullman is a full-time freelance writer and editor.
She has worked as an editor at Working Woman,
Family PC, Small Business Computing and
the Princeton Review Online.
